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Thoughts on the works of Sergei M. Eisenstein Anonymous 09/03/2019 (Tue) 14:13:56 No.99 [Reply]
>Sergei Mikhailovich Eisenstein was a Soviet film director and film theorist, a pioneer in the theory and practice of montage. The son of an affluent architect, Eisenstein attended the Institute of Civil Engineering in Petrograd as a young man. With the fall of the tsar in 1917, he worked as an engineer for the Red Army. In the following years, Eisenstein joined up with the Moscow Proletkult Theater as a set designer and then director. The Proletkult's director, Vsevolod Meyerhold, became a big influence on Eisenstein, introducing him to the concept of biomechanics, or conditioned spontaneity. Eisenstein furthered Meyerhold's theory with his own "montage of attractions"--a sequence of pictures whose total emotion effect is greater than the sum of its parts. He later theorized that this style of editing worked in a similar fashion to Marx's dialectic. Though Eisenstein wanted to make films for the common man, his intense use of symbolism and metaphor in what he called "intellectual montage" sometimes lost his audience. Though he made only seven films in his career, he and his theoretical writings demonstrated how film could move beyond its nineteenth-century predecessor--Victorian theatre-- to create abstract concepts with concrete images.

Eisenstein's completed feature films include:
Strike (1925)
Battleship Potemkin (1925)
October: Ten Days That Shook the World (1928)
The General Line (1929)
Alexander Nevsky (1938)
Ivan the Terrible, Part I (1944)
Ivan the Terrible, Part II (1945)

Incompleted films:
¡Que viva México! (A version was completed, edited, and released in 1979 by Eisenstein's co-director Grigori Aleksandrov)
Bezhin Meadow (lost, only exists as a slideshow now)
Ivan the Terrible, Part III (what was completed was destroyed)

Short films:
Glumov's Diary (1923)
Romance Sentimentale (1930)
El Desastre en Oaxaca (1931)

I believe most people are introduced to Sergei Eisenstein through Battleship Potemkin, which remains one of the most popular works of the 1920s and continues to be shown in film schools and film appreciation courses. Some of these classes might not show the entirety of Battleship Potemkin, but what they always show students is the massacre on the Odessa steps as this sequence remains an effective application of the montage, with the cuts set to a machine-like tempo between the Cossacks and government cavalry and the fleeing crowd of unarmed civilians. It's designed to push emotional buttons more than anything else, and for this reason I think that's why Battleship Potemkin never resonated with me, even after watching it a few times. Many of Eisenstein's other works were much more advanced than Battleship Potemkin, which makes me wonder why schools only teach Battleship Potemkin and usually skim over his later films. Perhaps it's simply because Battleship Potemkin is easier to get into?

Look at something like Strike, which released before Battleship Potemkin. The montage of the rioting workers at the end of the movie alternates with footage of a cow being slaughtered. You have these two seemingly unrelated scenes, but alternating between them gives the full sequence a whole new language and meaning, suggesting that the rioting workers are being slaughtered just like the helpless cow.

https://www.youtube.com/watch?v=jWiDciPuSW4
7 posts and 12 images omitted.
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>>528 >Bezhin Meadow wow, what a shame. I hadn't heard about that before but it looks great. fantastic beards.
>Battleship Potemki Terribly nauseating, insipid piece of Soviet propaganda. Maybe it influenced all the other nauseating, insipid propaganda films, who knows? In that case, I despise it even more. Battleship Potemkin is so caricatured, overblown, and heavy-handed as to be comical. Hardly the intended effect, I think... Am I supposed to be impressed with the editing, when what I came to see, namely the story and the actual shots, are uninspiring garbage? Sorry, but I am a viewer of movies, not a filmmaker, and I like to be entertained when possible. Technical breakthrough alone is not enough. Unless you're an avowed communist (lol) or a wannabe "revolutionary", this film holds little merit. Personally, all I could think about was the farce of Soviet ideals when fattened sailors are willing to die a glorious death for "tastier borsch." Not a decade after this film, millions died in Ukraine (much of the action here takes place in Odessa) during the Holodomor famine, shriveled in the streets with nothing to eat thanks to Soviet ideals... You know, actual starvation, instead of discontent with military rations and disrespect from superior officers (i.e. the story of every soldier ever). Now THAT is a story which could and probably should be told with revolutionary intent. There are dozens of better silent films out there, some earlier and some later. Only two years later we have Metropolis, which intelligently addresses issues like economic inequality, and definitively puts this Bolshevik travesty to shame. The Swedes, yes, even the tiny nation of Sweden, had already progressed far beyond this. They combined technical progress with subtlety of atmosphere and storytelling. It's unfortunate, because the Soviets produced many beautiful, iconic films. This just isn't one of them. It's not even Sergei Eisenstein's best film, because I watched Ivan the Terrible, and that film is powerful, emotionally captivating and inspiring.
>>530 >written by Izaak Babel >music by Prokofiev fam it would be crazy good >>531 I recommend reading the essay I have mentioned as it shows how Eisenstein was unsatisfied with his all early Leninist propaganda films and how collective heroes and anti-theatre idea in that early soviet 'avant-garde'. Also kind of kudos to Stalin for ending the 'avant-garde' and accepting the ideas from western 'bourgeois' cinema.
Montage in of itself isn't bad but this kike ruined cinema of the past's future (inadvertently), and while Battleship Potemkin isn't a bad move it's overrated and a fictional propaganda film which is a subversive thing to do on top of that.
>>533 I'm not fond of Eisenstein's almost cult of personality but he had his merits (along with Griffith) but to call him a jew is going past it, ironically i read about his father before him and the guy was a good architect from Riga. He had a jewish name in one of the most pozzed cities in terms of jewish antics (one of the ex-capitals of the Teutons that fell into decadence) but he was one of the few christians in the city with a good job, somewhat of a bourgeois and went with the monarchists when the revolution came about, which Sergei didn't like a lot and set him aside like a true snake (his pop was a single father who pampered him if his riches are valid evidence). Man went to Germany and died there soon after. Now that i think of it Sergei's best work is a piece fully against the teutons, the ones who build his home town, not to mention his dad seems to have an appreciation for them (spoke german, studied germanic/austrian architects like Loos' functionalism and Wagner's Viennese Secession school, retired there after the civil war) Reading some info to check if i didn't screw up it seems some guy in a university said he was born a jew. Yet he converted to orthodox, practiced, married a christian and was buried in christian grounds. Going crypto is normal for a rat but it doesn't make sense for me to go at such lengths and not play the cards when the big moment came about (bolshevik uprising), he was already respected in the higher strata and in one of the most kosher cities around, his conversion doesn't seem to have granted any kind of interests IF it happened anyways, university investigations regarding personal details are very often hear-say and jews convert anyone if they want to brag about him, and Mikhail's work was very fine in its day. The more i read about Sergei, the more i dislike him. Polite sage for somewhat off-topic.

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Anonymous 12/16/2019 (Mon) 16:41:48 No.476 [Reply]
Was 2001 A Space Odyssey jewish propaganda? I hate Also sprach Zarathustra. It's fucking loud.
In what way? Arthur C. Clarke was an Englishman. Yes Kubrick was Jewish but I don't see the propaganda in 2001 unless you work backward from that conclusion.
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>>492 Do you consider it propaganda? I don't see a compelling case. 2001 has certain aspects that align with Jewish ideas, and a small number of Jews directly involved, but I don't think the sum total of 2001 is Jewish ... or Jewish propaganda. You have to consider that Forward writes Spot-the-Jew articles for Jews. So, this article makes tenuous connections on things with minimal impact on the essence of the film. For example <While making the movie, Kubrick abandoned his clean-shaven, black suit, tie, and white-shirt New York intellectual fifties look in favor of scruffier one. It was then that he grew his distinctive beard as if obeying Leviticus 19:27 <The lead ape was played by mime artist Dan Richter, whose father was the Jewish painter and cartoonist, Mischa Richter. Appropriately, his character was called Moon-Watcher and what more obsessive moon watchers are there than Jewish calendar experts? <Part three of “2001” is called “Jupiter Mission: 18 Months Later.” Eighteen in Hebrew is equivalent in numeric value to “life” (chai), referring to double the human period of gestation and birth. For the sake of interest, J-Dar rated the film 43.76% Jewish', but the lion's share of that calculation is Kubrick himself - https://web.archive.org/web/20160708215057/http://www.j-dar.ca/#62

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Peter Greenaway Thread Anonymous 10/28/2019 (Mon) 17:45:11 No.292 [Reply]
Tarkovsky doesn't have shit on this man.
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I like both of them but the Tarkovsky hate amuses me. It kinda came out of nowhere on the old board.
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I'm all in wit da ornithology
How were his last few films? I haven't seen anything after Rembrandt's J'Accuse. I think he's making another one about Eisenstein.
>>310
> I think he's making another one about Eisenstein.
Two actually. It's intended to be a trilogy with Eisenstein in Hollywood followed by Eisenstein in Switzerland.
>>295
I'm constantly amazed by the creativity of God. Thanks anon, I enjoyed seeing those remarkable birds.

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Anonymous 09/29/2019 (Sun) 19:28:00 No.194 [Reply]
What does /film/ think about the films of Giuseppe Andrews?
I don't know him, what's good?
>>196
Cat Piss is how most people know him
>>200
Yes that's quality NEETcore. He's associated with Troma or they mostly helped with distribution?

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