Lights, camera, persuasion!: Sergei Eisenstein, the propagandist filmmaker of the Soviet Union and his ideology (1925-1929)
DOI:
https://doi.org/10.29393/RH30-13LCSR10013Keywords:
Soviet Union, Sergei Eisenstein, propaganda, ideology, cinema, artAbstract
Through this work on the Soviet filmmaker Sergei Eisenstein, the propaganda techniques employed in two of his films, Strike and The General Line, will be analyzed. It raises the question of whether these techniques originate from Eisenstein's own ideological conviction or if they stem from coerced instruction by the state. In search of answers, the author's writings, the aforementioned films, as well as the events surrounding their production and release, will be reviewed. The evidence suggests a sincere conviction on the part of the artist regarding the principles of Soviet socialism, albeit from a personal and heterodox perspective, which did not exempt him from problems with censorship and his colleagues.
Downloads
References
Referencias
Bergan, Ronald. Sergei Eisenstein. A life in conflict. Nueva York: The Overlook Press, 1997.
Bulgakowa, Oksana. Sergei Eisenstein: A biography. San Francisco: Potemkin Press, 2001.
Christie, Ian y Richard Taylor, eds. Eisenstein Rediscovered. Londres: Routledge, 1993.
Eisenstein, Sergei. El sentido del cine. México D.F.: Siglo XXI, 1974.
Eisenstein, Sergei. Film Essays and a Lecture. Nueva Jersey: Princeton University Press, 1968.
Eisenstein, Sergei. La forma del cine. México D.F.: Siglo XXI, 1986.
Eisenstein, Sergei. Nonindifferent Nature. Cambridge: Cambridge University Press, 1987.
Eisenstein, Sergei. Notes for a General History of Cinema. Ámsterdam: Amsterdam University Press, 2016.
Eisenstein, Sergei. Notes of a Film director. Moscú: Foreign Languages Publishing House, 1959.
Eisenstein, Sergei. Problemas de la Composición Cinematográfica. Bogotá: Ecoe, 1978.
Eisenstein, Sergei. The Psychology of Composition. Londres: Methuen, 1988.
Eisenstein, Sergei. Yo, Memorias inmorales I. México D.F.: Siglo XXI, 1988.
Eisenstein, Sergei. Yo, Memorias inmorales II. México D.F.: Siglo XXI, 1988.
Fernández, Carlos. Eisenstein. Madrid: Centro Español de Estudios Cinematográficos, 1959.
Kenez, Peter. A history of the Soviet Union from the beginning to the end. Cambridge: Cambridge University Press, 2006.
Kepley, Vance Jr. «The Evolution of Eisenstein’s ‘Old and New’». Cinema Journal 14, Nº 1 (1974): 34-50, doi: https://doi.org/10.2307/1224939.
Leyda, Jay. Kino: Historia del cine ruso y soviético. Buenos Aires: Editorial Universitaria de Buenos Aires, 1965.
Nesbet, Anne. Savage Junctures: Sergei Eisenstein and the shape of thinking. Londres: I.B. Tauris, 2003.
Persing, William Hays. «The Ecstasy of Economics: The Evolution of Sergei Eisenstein's the Old and the New». Tesis para optar al grado de Honors in Russian Studies. Bucknell University, 2015. https://digitalcommons.bucknell.edu/honors_theses/304.
Ricoeur, Paul. Tiempo y Narración I: Configuración del Tiempo en el Relato Histórico. México D.F.: Siglo XXI, 2009.
Seton, Marie. Sergei M. Eisenstein. The definitive biography by Marie Seton. Nueva York: Grove Press Inc., 1960.
Taylor, Richard. The Politics of the Soviet Cinema 1917-1929. Cambridge: Cambridge University Press, 2008.
White, Hayden. Metahistoria: La imaginación histórica en la Europa del S.XIX. México D.F.: Fondo de Cultura Económica, 1992.
Published
How to Cite
Issue
Section
Copyright (c) 2023 Sebastián Román Vidal
This work is licensed under a Creative Commons Attribution 4.0 International License.
