Vertov and Eisenstein are each convinced that their own vision of cinema is correct. Both are extremists in their own ways. How do their visions differ? What do they have in common? How are both of their visions of cinema "revolutionary?"
Soviet cinema has a significant contribution to the world’s film history. The years after the October Revolution in 1917 bring many economic difficulties and political changes to the newly formed USSR, which also affected film production. The nationalization of the film industry, Kuleshov experiments, and the support from the government mark some of the most important phases that influenced the progress and development of the Soviet film. Even though used as medium of propaganda, the cinema popularity was undeniable and influenced the creation of the new montage editing style. Montage style prompted the creativity and imagination of new young new authors amongst which were Sergei Eisenstein and Dziga Vertov. The inspiration of the propaganda affected both authors’ works in different ways – one through the means of drama and suspense, the other – through presenting the beauty of every day life. Both express their individual vision in revolutionary ways that demonstrate new, original approaches of cinema. Even though the common concept of communism lead them as the purpose of their films, the system of filming and using innovative techniques, defined their own revolutionary style. Eisenstein’s films bring social conflict, especially the conflict between the classes. He introduces his unique style reproducing the historical events of the October Revolution and the opposition of the people against the Czarism. The revolution is represented through graphic and rhythmic editing to reach the viewers with dynamic and dramatic affection. For Eisenstein combination of two different shots is used to create a new emotional whole and the editing was the most powerful tool he used in every film to recreate the striking events in Russia....
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