Sergey Eisenstein’s “The Strike”, or the Attractiveness of Ideology
Abstract
Twardosz tries to trace how Marxist ideology manifests itself in The Strike (1924), Sergey formal shape. In his argument Twardosz makes references to the situation of then Soviet cinema against the background of world cinematography, and to avant-garde trends rapidly developing in the theatre and visual arts of the Soviet Union of the New Economic Policy. The author explores Eisenstein’s artistic road and the film structure. Analyzed here are techniques based on montage of attraction aimed at provoking a shock among film-goers and destroying art’s illusoriness.
Keywords:
Sergey Eisenstein, marxism, montage of attractionReferences
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Authors
Jarosław Twardoszkwartalnik.filmowy@ispan.pl
Jagiellonian University Poland
Absolwent filmoznawstwa UJ. Obronił pracę doktorską poświęcona awangardowym formom narracji filmowej. Obecnie pracownik dydaktyczny Instytutu Sztuk Audiowizualnych UJ.
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Copyright (c) 2005 Jarosław Twardosz
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