![]() ![]() He is widely considered as the pioneering founder of “poetic cinema”. Soviet director Andrei Tarkovsky was often called a visual poet. ![]() This technique has since been repeated countless times to similar effect. The metaphor is simple, yet strong - assaulted workers equal slaughter. This is particularly noticeable in his famous movie Strike (1925), where he cuts back and forth between the slaughter of a bull and police attacking workers. Through intellectual montage, Eisenstein portrayed complex ideas by seemingly unrelated scenes. His unique method of montage set Eisenstein apart from the rest: the collision of images, rhythmic pacing, tonal editing and, what later would become the pinnacle of montage theory, “intellectual montage.” Intellectual montageįrom inspiring scenes in Coppola’s iconic Vietnam War film Apocalypse Now (1979), to De Palma’s classical mob movie The Untouchables, Sergei Eisenstein’s Battleship Potemkin is undeniably one of the most influential movies in film history. In more recent times, director Steve McQueen named Vertov’s work as inspiration for the Academy Awards winning movie 12 Years a Slave. His “raw” style of filming of his subjects would later inspire the influential French 1960s movements “Cinema Verite” and “Nouvelle Vague". His most famous work, Man with a Movie Camera (1929), was a self-reflective film, showing the art of film production. In fact, so close was Vertov's relationship with the audience, that he even added his contact information at the end of every episode. This way, Vertov believed he could create a closer relationship with the audience while removing what he called the “bourgeois focus” of pre-Soviet era films. When filming the 23-part Kino-Pravda (“Film-Truth”) Vertov used everyday situations, often filming people unaware as they went about their everyday lives. The artist, after all, should see himself as an engineer, another worker.ĭziga Vertov was an influential voice in promoting “socialist realism” in cinematography, ultimately changing the way we look at documentary film. Although there was relative freedom to experiment, one thing was made clear, films should be made for and about the common man. The Soviet leadership, spearheaded by Lenin, gave creative freedom to filmmakers, paving the way for some of the most influential film theorists to date. ![]() A new age in documentary filmmakingĭocumentaries were a central part of early Soviet cinema. This, combined with the lack of film stock at the time, were important factors that led to the development of new film theories and editing techniques. Filmmakers were told to break with conventions, creating new ones that could support the communist society. The Soviet leadership embraced film as the main method of communication with the people, encouraging the creation of more realistic movies portraying themes from everyday life. Lenin proclaimed: “Cinema, for us, is the most important of the arts." By 1919, the movie industry was nationalized, and soon after, the world’s first film school was created - Moscow's VGIK. By 1913, Russia had over 1,300 cinemas and had produced more than 100 films, greatly influencing European and American filmmaking.Īs the revolution progressed early in the 20th century, many Russian directors emigrated, leaving Russian film in a state of turmoil. The first Russian dramatized film dates back to 1908, making Russian cinematography one of the oldest in the world. Russians fell in love with the art of film early on.
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