In the French avant-garde, more attention was paid to formal beauty.
On the other hand, the German avant-garde has become more and more beautiful in content, reflecting more of the social reality. Murnau, the leader of expressionism, "The Lowliest Man", etc. But in his, "The Vampire" seems to see expressive montages, a large number of mice, the panic of livestock and other single-shot compositions.
And Eisenstein, whether in "Battleship" or "Strike", seems to use everyone's strengths.
"Strike" begins, a large number of machines, the flow of people, the constant opening and closing of doors, deformed subtitles and so on. It seems to see the "Mechanical Dance" of Cubism and the "Symphony of Diagonals" of abstraction. So in Eisenstein's films it is very poetic.
On the other hand, more expressive montages are used, cats, birds, chimneys that no longer smoke, women, police, workers against 3 parties. The montage of all this is more focused on controlling the audience's emotions, combined with the thematic meaning of the film. Will automatically think of the German avant-garde.
As an original art form, it is his expressive montage. Of course, he can't watch juggling montage in a separate way. This is just one of his use of expressive montage.
If I were to comment on Eisenstein, I would say this, a poetic filmmaker who expresses realism.
(Just a personal, superficial comment)
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