|Eisenstein and Chaplin|
ham it up! No Photoshop!
1. The editing. In my graduate work, we developed a class called "Production as Criticism," where each year the instructor would bring their own "problematic" to the table (e.g. police procedurals, music videos, Dogme95). I like to imagine what an editing class dedicated to playing with Soviet montage might entail. I suppose this is more "film school" than what we do at BSU. Still...
2. The writing. I vividly remember first being confronted with Eisenstein's theoretical writing about his different types of montage, of how he was trying to bring elements of kabuki theater, iconic painting, circus, and God-knows what all else into his work. Check out his book The Film Form for starters.
4. The hair. I mean: come on! Can't you see him leaning over his Movieola, running his hands through his hair for the umpteenth time, as he tries to make the cut just so?
|"So now if the baby carriage|
is rolling down and to the right..."
Sergei Eisenstein was born in Rīga (Latvia) during the Czarist era, and his father was a well-revered architect of the art nouveau style. Check out some of these buildings!