vs. Frame? Sergei Eisenstein: The Formalist Andre Bazin: The Realist The language of cinema has been developed by trail and error over the past one hundred years by pioneers venturing into uncharted territory. Today anyone with a T.V. set is accustomed to the language‚ perhaps without even realizing they are taking part in a “conversation”. This conversation has to be created by using a cinematic language. Among such pioneers that crafted this language are‚ Sergei Eisenstein‚ a man who is thought
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Sergei Eisenstein ’s writings and examples from his films outline his ideas about film montage ’ and its role in shaping audience responses. You should include analysis of at least one segment from Eisenstein ’s films Sergei Eisenstein ’s theories‚ and practical realisations‚ of film montage serve to create a foundation on which Eisenstein‚ and many other filmmakers‚ have been able to build an understanding of the nature of film production. It is through Eisenstein ’s intellectual theories that
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How is the audience positioned to respond to the films of Eisenstein? How does he achieve these reactions in both Battleship Potemkin and Strike? Sergei Eisenstein was a Russian propagandist during the Bolshevik Revolution in the 1920’s and recognised and then created film to be used as a propaganda tool to represent communist social messages. Soviet montage film was an advanced style of cinema that used advanced‚ unique editing and clever use of camera angles and distances that encouraged an active
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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
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INTRODUCTION Eisenstein had begun during the late 1920s into montage and cinematography in the other arts. Sergei Eisenstein is widely regarded as much by people who have not seen his films as by those who have‚ as one of the most important figures in the history of cinema. Historically‚ his reputation developed around four factors. First there were the films themselves‚ which were not only masterpieces but almost attracted controversy and indeed censorship‚ in their home country as
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revolution‚ Russian films were dark‚ slow-moving melodramas featuring popular stars‚ but by 1917 the Russian film industry was galvanized by young men and women who despised the oppressive customs put in place by the Tsarist regime and they thus made tentative moves that resulted in the growth of a national cinema movement which would reflect new social ideals. These young people wanted to establish a new type of cinema
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Total Cinema Andre Bazin in his article‚ The Myth of Total Cinema‚ asserts that motivation behind cinema is realism. He explains his theory by examining the technology of cinema. He argues that cinema was not born from the technology advancement but rather from innate desire to reproduce the realism of our world. “The basic technical discoveries [are] fortunate accidents… essentially second in importance to the preconceived ideas of the inventors” (Bazin‚ 200). What Bazin means is that the invention
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Introduction Psychoanalytic film theory‚ despite its relatively late development‚ has become one of the most widely practiced theoretical approaches to cinema studies today. This is largely owing to the fact that psychoanalysis and film technology were born in the same era‚ and essentially grew up together. Thus‚ as cinema quickly came to focus on ways of rendering subjective experiences--the innermost psychological depths of the characters it portrayed--it naturally drew upon the newest conception
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In 1952‚ the Parisian journal Films et Documents codified the "ten points of neorealism" and‚ with this definitive gesture‚ pronounced neorealism a school.1 By contrast‚ Italian critics have always seemed reluctant to acknowledge neorealism as a movement and so have never produced a manifesto or program for an ideological faction. Neorealism in Italy may be said rather to encompass two somewhat different meanings. The term comes to be associated‚ on the one hand‚ with the project of reformulating
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Herzog‚ Bazin and the cinematic animal” By Seung-Hoon Jeong and Dudley Andrew Overall‚ Hoon and Dudley’s article “Grizzly ghost: Herzog‚ Bazin and the cinematic animal” is valuable and interesting. It is written for an audience who has seen The Grizzly Man and is very familiar with its content because there are not many explicit references to specific moments in the film. I appreciate that Hoon and Dudley introduced the text with a few paragraphs that describe the general tone of Herzog’s films and
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