Early Soviet Cinema- Innovation, Ideology and Propaganda (Short Cuts)
Language: English
Pages: 128
ISBN: 1903364043
Format: PDF / Kindle (mobi) / ePub
Early Soviet Cinema: Innovation, Ideology and Propaganda examines the aesthetics of Soviet cinema during its "golden age" of the 1920s, against a background of cultural ferment and the construction of a new socialist society. Separate chapters are devoted to the work of Sergei Eisenstein, Lev Kuleshov, Vsevolod Pudovkin, Dziga Vertov and Alexander Dovzhenko. Other major directors are also discussed at length. David Gillespie places primary focus on the text, with analysis concentrating on the artistic qualities, rather than the political implications, of each film. The result is not only a discussion of each director's contribution to the "golden age" and to world cinema but also an exploration of their own distinctive poetics.
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SHORT CUTS In February 1917 he was called up for military service and sent to the front. After the Bolshevik seizure of power in October of that year he returned to the Engineering Institute, but in 1918 joined the Red Army as Civil War raged (his father joined the Whites and eventually emigrated). In 1920 Eisenstein was demobilised and moved to Moscow, where he became involved in Proletkult, an organisation that, fired by revolutionary idealism, advocated the creation and development of a
fair to say that their lasting significance lies in the fact that it was on the agitki that Pudovkin, Eisenstein, Kuleshov and Vertov, as well as the 4 EARLY SOVIET CINEMA future directors Leonid Trauberg and Grigory Kozintsev, and Eduard Tisse, Eisenstein's future cameraman, cut their cinematic teeth. As Jay Leyda (1973: 151) notes: For the several professional film-men ... the agitka was a political kindergarten. For the others - those film-makers who were given their first creative
presenting its own 'I see!' and 2) the Cine-eye Editor, who for the first time organises the minutes of life seen in this way.3 These were extravagant claims, for not only was Vertov asserting the dominance of documentary film over that of the fictional film, but also that his view of the documentary film was superior to that of other makers of non·fictional films. Vertov thus rejected the idea of a script, and attempted to film life in its natural rhythm and without embellishment, caught
Revolution and after, continuing well into the Stalinist period. He made his directorial debut in 1911 with The Departure of the Great Old Man ('Ukhod velikogo startsa'), an account of the final days of Lev Tolstoy. He made a star of Ivan Mozzhukhin in literary adaptations, such as The Queen of Spades ('Pikovaia dama') in 1916, based on Push kin's short story, and Father Sergius (,Otets Sergii'), after the novella by Tolstoy, made in 1918. On his return to the Soviet Union, he made the first
new socialist elements in the economy, in social relations, in everyday life and in the personality of man; to struggle against the remnants of the old order; to the enlightenment of the masses, in their education and organisation around the cultural, economic and political tasks of the proletariat and its Party, realised in the period of socialist construction; to the class elucidation of historical events and social phenomena; to the dissemination of general knowledge and international
