Eisenstein: Films, Editing, Propaganda

How Eisenstein Combined the Circus with Cinema

Many "old-school" directors criticize modern blockbusters for their excessive action scenes and the way they force audiences to experience strong emotional swings. Such films often focus on visual effects and fast-paced action, leaving little room for deep character development and storylines. This trend raises questions about the quality of contemporary cinema and how to balance spectacle with substance. It's important to remember that successful cinema can combine vibrant action scenes with deep themes and developed characters, making it truly memorable and meaningful for the audience.

In 2019, Martin Scorsese expressed his views on Marvel films, stating that he does not consider them art. He said, "They're not cinema. Frankly, the best comparison you can make is theme parks, no matter how well-made they are and how hard the actors work under the circumstances. They're not films about real, living people trying to communicate emotional and psychological experiences to each other." Scorsese's opinion raises an important question about what constitutes art in contemporary cinema and how it relates to commercial projects.

Other prominent Hollywood directors, such as Francis Ford Coppola and Ridley Scott, echoed Martin's sentiments. Their opinion underscores the importance of discussing current issues in the film industry and the creative process.

Sergei Eisenstein, a prominent director and film theorist, likely disagreed with his colleagues. In 1923, he published an article in the journal LEF, "Montage of Attractions," in which he analyzed the importance of emotional impact on viewers. Eisenstein emphasized that montage can be more than just a technical device, but a powerful tool capable of evoking strong emotions and creating profound impressions in the audience. His ideas about montage as a way to manipulate perception became fundamental in the development of cinema.

Montage of attractions is a unique filmmaking method aimed at activating and shocking audiences. It is a technique of changing shots that functions as shock therapy for visual and emotional perception. It allows for a deeper involvement of the audience in the action on screen. Similar effects can be observed in the circus, where audiences empathize with the performers as they perform risky acrobatic feats such as somersaults on a high rope. To achieve empathy, it's important not only to capture a thrilling scene but also to edit it correctly to create the necessary dynamism and tension. Effective editing heightens the emotional response, making the visual experience more intense and memorable.

A theatrical attraction is any element that has an aggressive impact on the viewer. This includes moments capable of evoking strong sensory or psychological reactions. Each such element is carefully designed and calculated to evoke specific emotional experiences in the audience. Theatrical attractions play a key role in creating a unique experience for audiences, immersing them in a world of emotions and impressions.

Sergei Eisenstein was a prominent Soviet director and film theorist, known for his innovations in editing and visual storytelling. Born on October 23, 1898, Eisenstein became a key figure in the history of world cinema. His works, such as "Battleship Potemkin" and "October," demonstrated the power of cinema as a tool for conveying ideas and emotions, as well as a mass medium. Eisenstein developed a theory of montage dramaturgy based on the principle of image collision, which became the basis for many modern cinematic techniques. His approach to editing not only changed the perception of cinema but also had a significant influence on subsequent generations of directors and screenwriters. Sergei Eisenstein was also active in teaching, training young filmmakers, which contributed to the development of cinema in Russia and abroad. His legacy continues to inspire and motivate filmmakers, making his name an integral part of art history.

According to Eisenstein, the attraction is the fundamental and primary element of a performance's construction, serving as the molecular unit of theatrical action. This means that any performance, including film, is impossible without an attraction. It is impossible to hold the audience's attention with meaning alone, so the importance of the attraction in theater and film cannot be overstated. The effective use of attractions helps create an engaging and memorable experience that attracts and retains an audience.

The principle of montage of attractions is demonstrated in the famous scene with the falling carriage from the film "Battleship Potemkin," which Eisenstein directed in 1925. This scene illustrates how editing can heighten the emotional impact on the viewer, creating tension and drama. By using abrupt transitions and contrasting shots, Eisenstein achieves a powerful effect that remains in the audience's memory. Understanding the principles of amusement park editing allows for a deeper understanding of the art of cinema and its impact on perception.

Let's study it in detail.

Building Tension: The scene begins with a peaceful demonstration of citizens descending a giant staircase in Odessa. The camera not only shows wide shots of the crowd, but also isolates specific individuals with close-ups, humanizing the crowd for the viewer.
Creating Conflict: The tension intensifies when soldiers enter the staircase and begin mercilessly firing at unarmed people. The editing is structured so that the alternation of shots—now innocent citizens, now guards taking aim at them—creates a growing sense of horror and outrage.
A key element of the attraction is the fall of the stroller. The stroller, teetering on the edge of the steps, begins to roll down as the shooting continues. These moments are edited in such a way that it is difficult for the viewer to look away. With each successive flight, the tension mounts, and here it is, the moment when the stroller finally overturns... But it's not shown at all—the viewer must complete the scene in their mind.
Visual and emotional contrast: the purity and innocence of a child are juxtaposed with the cruelty and chaos of violence and murder: a crying baby in white swaddling clothes against a faceless gray mass with guns.

Every element of editing in this scene is aimed at enhancing the impact of the plot on the viewer and creating an emotional connection with what is happening. The use of spectacular editing makes the viewer an active participant in the events, allowing them to physically feel the tension and experience the characters' emotions. This approach to editing not only attracts attention, but also immerses the viewer in the atmosphere of the scene, which significantly enhances the overall perception of the work.

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The animated film "Spider-Man" and its universe deserve an Oscar thanks to its unique animation style, deep storylines, and charismatic characters. This project stands out thanks to its innovative approach to visual art, which combines comic book elements with modern animation. Every frame of the film looks like a living work of art, captivating viewers and immersing them in the world of superheroes.

The film's plot covers important themes such as self-discovery, responsibility, and friendship, making it relevant for viewers of all ages. The characters are deep and layered, each undergoing their own developmental journey, allowing viewers to identify with them.

Furthermore, the original soundtrack and high-quality voice acting add to the atmosphere, making the experience unforgettable. Given all these factors, the animated Spider-Man and its universe not only entertain but also inspire, deserving of top-tier recognition. The Oscar award will be a just recognition of their contribution to the art of animation and cinema in general.

How Eisenstein Invented Infotainment

The twenties of the twentieth century had a significant impact on the development of cinema. At this time, Expressionism was actively developing in Germany, which introduced innovative ideas into the visual language of cinema. In France, the avant-garde was born, which became a symbol of artistic rebellion and experimentation. In response to these changes, Soviet filmmakers also began to create films reflecting the spirit of the revolution, moving away from traditional plots and forms. In such conditions, works such as "Doctor Caligari" and "Nosferatu," faded into the background, giving way to new approaches and styles that could reflect the social and cultural changes taking place in society.

The revolt had its own characteristics: the Soviet avant-garde artists opposed the already overthrown imperialist power. While Dziga Vertov analyzed past events through documentary film, creating works such as "History of the Civil War," Sergei Eisenstein took a fictional approach. His films, including "Strike," "Battleship Potemkin," and "October," became important reflections of this era. These works not only captured the events, but also became important documents that help us understand the cultural and social changes of the time.

Eisenstein significantly increased the dynamism of events on screen. Unlike "Potemkin," where the Lumière train arrives at the station slowly, his works are distinguished by tension and dynamism. Eisenstein's dramas are perceived as chronicles reflecting the cruelty and horrors of an inhumane political regime. This evokes a deeper sense of fear than the vampire image created by Max Schreck in Murnau's film.

Eisenstein was not interested in the world of fantasy; his goal was to create films dedicated to significant social themes. For example, he sought to adapt Marx's book "Das Kapital" for the screen. The director wanted viewers not only to be surprised but also to think and reflect on what they saw. His films combined entertainment and intellectual challenge, representing a kind of infotainment. Eisenstein achieved this effect through editing, combining disparate shots in such a way that new meanings and ideas arise in the viewer.

In the scene of the shelling of Odessa in the film "Potemkin," the lion statue takes on new meaning. In fact, it is a combination of shots filmed with three different sculptures. The lion is depicted in a state of horror, reacting to the destruction of a government building. This artistic technique emphasizes the atmosphere of fear and destruction, creating a powerful visual effect in the context of historical events.

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How Eisenstein Invented the Film Opera Long Before George Lucas

Eisenstein always favored drama, especially that which resembles a chronicle. Naum Kleiman, a renowned film historian, emphasizes that the director managed to introduce elements of tragedy into cinema, thereby shifting the focus from melodrama to higher genres. In "Alexander Nevsky," he relied on hagiography—the tradition of the lives of saints—while "Ivan the Terrible," as a tragedy of autocracy, continues the development of the tradition begun in Alexander Pushkin's "Boris Godunov." Eisenstein not only explored complex human emotions but also created cinematic works that left a significant mark on the history of cinema.

Sergei Mikhailovich's films are reminiscent of spectacular theatrical productions in the spirit of Shakespeare. They can be compared to ancient entertainment, including theater, as well as more violent art forms. The director seems to proclaim: "Bread and circuses to the Soviet people, who have achieved victory over imperialism!" These films immerse the viewer in a deeply emotional atmosphere, combining elements of drama and tragedy, making them unique in modern cinema.

Eisenstein used thriller elements to create tension in his works. Montage of attractions played a key role in this, heightening the emotional impact on the viewer. A striking example of this is the scene on the Potemkin Steps, as well as many episodes of the "Ivan the Terrible" duology. The visual component of the Tsar's story was enhanced by contrasting lighting, shadows, and highlights, emphasizing the depth and duality of the protagonist and conveying the atmosphere of the historical era. Such artistic techniques contributed to the creation of a tense and memorable viewing experience, making Eisenstein's works relevant today.

The avant-garde artist called "Ivan the Terrible" a film opera long before Lucas used a similar term for his franchise about a distant galaxy. Kleiman emphasizes: "Coppola admitted that when creating "The Godfather" he was looking for the tragic power inherent in the works of Verdi, and found it in Eisenstein, who constructed the film frame as a graphic composition. Here, it is not the external vanity that is important, but the internal dynamics. Although the films are different, they continue each other's tradition. Eisenstein did not strive to create imitators and demanded that his students be faithful to their own ideas. "Art thrives on the ability to grasp principles without repeating style."

The film "Grozny" possesses an operatic monumentality that is evident not only in its scale. The director strove to create the pathetic atmosphere characteristic of operatic works. The use of expressive sets and costumes, as well as original camerawork, lends the film visual scope and drama. These elements create a unique style that heightens the emotional weight of the plot and immerses the viewer in the atmosphere of the work.

Sergei Prokofiev's music significantly enhanced the emotional impact of the film's scenes. Thanks to this, Eisenstein was able to create in "Grozny" a truly epic spectacle that leaves a profound impression on viewers. The combination of expressive melodies and powerful visuals makes this film a unique work of art.

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How Eisenstein Made the Crowd the Protagonist

Sergei Eisenstein's first three films lack protagonists in the traditional sense. The director sought to convey the life and actions of the masses, emphasizing their influence on history. In his cinematic language, an entire crowd often becomes the protagonist, reflecting his ideological position. Eisenstein glorified the revolution and was a supporter of the Bolsheviks and communism, which is clearly evident in his works.

These ideas are directly related to Marxist theory, which perceives history as the result of joint class action, rather than individual effort. An individual, even if they occupy a leadership position or become a hero, is not the sole driving force in historical processes. True power lies in the collective will and actions of the people, emphasizing the importance of social interaction and class struggle in shaping the historical context. This understanding of history as a dynamic process based on the interaction of various social groups allows for a deeper understanding of the mechanisms of change in society and politics.

In the film "Potemkin," the sailor Vakulenchuk is initially presented as the main character. However, he proves to be a false hero, as he dies before the film's midpoint, passing the baton to the entire crew of sailors. This creates a shift from individual fate to collective resistance, a key element of the narrative. The film deeply explores themes of sacrifice and unity, emphasizing the importance of working together against oppression.

The film "Potemkin", like other early works of Eisenstein, lacks a clearly defined plot. The main themes concern popular unrest, the struggle for rights, conflicts between nations, and rebellion against tyrants. These motifs highlight the social and political realities of the time, focusing on the people's desire for freedom and justice. Eisenstein uses cinematic techniques to convey emotional tension and the importance of collective action, making his films relevant even today.

How Eisenstein Invented Film Propaganda

Joseph Goebbels admired the films of Sergei Eisenstein, noting their strong influence on audiences. At a meeting with German filmmakers in 1933, he stated: "This is an outstanding film. From a cinematic point of view, it is unique. Anyone who is unsure of their beliefs may be inclined toward Bolshevism after watching it. This once again confirms that a certain ideology can be embedded in a masterpiece. Even the most unfortunate ideas can be effectively propagated through artistic forms." Eisenstein became a symbol of how cinema can influence public consciousness and shape political views, making his work relevant today.

Eisenstein's propaganda was based on a simple yet effective principle: he sought to evoke deep emotional experiences in the viewer, targeting their senses. A striking example of this is the famous final scene from the black-and-white film "Battleship Potemkin," in which the sailors raise the red flag on the yardarm. This image became a symbol of revolution and freedom, evoking a powerful response from the public and cementing the film's status as a classic.

The point is not that the image is hand-colored on film, but how this bright spot, symbolizing freedom won at the price of blood and sacrifice, evokes a response in the depths of the souls of people tormented by injustice. For example, the scene with the cellar overflowing with wine in the film "October" evokes indignation in both the characters and the audience. Both are disgusted by the bourgeois life, idle against the backdrop of hunger and suffering in the country. This contrast highlights social problems and makes one think about the moral responsibility of each person in society.

Over time, views on Eisenstein's work have changed. When he began work on the first part of Ivan the Terrible, his focus shifted from the masses to the individual, and doubts arose that merely class struggle lay behind historical events. Perhaps he was beginning to explore deeper themes. The film is a portrait of an authoritarian antihero, a paranoid ruler who, faced with new moral dilemmas, descends increasingly into self-destruction. While Ivan the Terrible evokes sympathy in the first part, in the second he becomes an object of fear and contempt. This shift demonstrates the complexity of human nature and the mechanisms of power, making the film relevant today.

Joseph Stalin, who had supported Sergei Eisenstein's creative projects for many years, saw Ivan the Terrible as a critique of his regime and therefore banned the second part. The official reason for the ban was the claim that the film was insufficiently authentic: the oprichnina was depicted inaccurately, and the tsar appeared less than independent. However, it is common knowledge that under the guise of condemning distorted interpretations of historical events, autocrats are actually disguising their condemnation of dissent and criticism of the government. Stalin feared that the film could provoke discontent and undermine his authority, so he banned it. This event highlights how art and politics are intertwined, and how creative works can be perceived as a threat to authoritarian regimes. Sergei Mikhailovich Eisenstein evolved from a propagandist in his early works to an oppositionist and critic of the government in his later films. Eisenstein as a director, artist, and person underwent changes: with age, his views on politics, power, and history became more profound and critical. While overtly propagandistic techniques may be unsettling to modern viewers, the cinematic language Eisenstein developed continues to captivate. His method of editing attractions remains relevant regardless of ideological changes: authorities come and go, but art lives on.

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