Eisenstein Rediscovered

Eisenstein Rediscovered

Eisenstein Rediscovered

Eisenstein Rediscovered

Synopsis

In Eisenstein Rediscovered Ian Christie and Richard Taylor present the first true East-West symposium on Eisenstein with an unparalleled diversity of views and methodologies. Two newly discovered texts by Eisenstein are here translated fro the first time, and all the contributors make extensive use of material only recently available - variant scripts, drawings, diaries and other writings - to probe behind the familiar facade. The 'new' Eisenstein that emerges is in all respects a more engaging and contemporary figure than is traditionally perceived, his wit, eroticism and exlectic passions defining a distinctively modern sensibility whose rediscovey is long overdue.

Excerpt

Cinema has been the predominant popular art-form of the first half of the twentieth century, at least in Europe and North America. Nowhere was this more apparent than in the former Soviet Union, where Lenin's remark that 'of all the arts for us cinema is the most important' became a cliché and where cinema attendances were until recently still among the highest in the world. in the age of mass politics Soviet cinema developed from a fragile but effective tool to gain support among the overwhelmingly illiterate peasant masses in the Civil War that followed the October 1917 Revolution, through a welter of experimentation, into a mass weapon of propaganda through entertainment that shaped the public image of the Soviet Union-both at home and abroad and for both elite and mass audiences-and latterly into an instrument to expose the weaknesses of the past and present in the twin processes of glasnost and perestroika. Now the national cinemas of the successor republics to the old ussr are encountering the same bewildering array of problems, from the trivial to the terminal, as are all the other ex-Soviet institutions.

Cinema's central position in Russian and Soviet cultural history and its unique combination of mass medium, art-form and entertainment industry, have made it a continuing battleground for conflicts of broader ideological and artistic significance, not only for Russia and the Soviet Union but also for the world outside. the debates that raged in the 1920s about the relative revolutionary merits of documentary as opposed to fiction film, of cinema as opposed to theatre or painting, or of the proper role of cinema in the forging of post-revolutionary Soviet culture and the shaping of the new Soviet man, have their echoes in current discussions about the role of cinema vis-à-vis other art forms in effecting the cultural and psychological revolution in human consciousness necessitated by the processes of economic and political transformation of the former Soviet Union into modern democratic and industrial societies and states governed by the rule of law. Cinema's central position has also made it a vital instrument for scrutinising the blank pages of Russian and Soviet history and enabling the present generation to come to terms with its own past.

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