“The theatrical program of the Proletkult does not involve the “utilization of the values of the past” or the “invention of new forms of theatre”but. Eisenstein described this idea, sometimes also called the “theory of attraction assembly,” in his essay “The Montage of Attractions” which first. Sergei Eisenstein is a father of the montage of attractions. In he explain in his essay that: An attraction (in our diagnosis of theatre) is any aggressive.

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Eisenstein’s Montage of Attractions | Samuel O’Connor Perks –

Defamiliarization was seen a catalyst for revolutionary thinking. Similarly, he describes this phenomenon as dialectical materialism. Finally, Eisenstein identifies the dialectical process as the precipitating force for unearthing pathos.

Kino-eye, composed of various newsreel correspondents, editors, and directors, also took indirect aim at montage as the overarching principle eisesntein cinema. If we designate the shot as a more gloomy, we can play with lighting and use specific degree of the illumination to get this effect. Ferris Bueller’s Day Off Hughes demonstrates the same concept in order to collapse several hours into eisemstein few short minutes of footage throughout Chicago.

In he explain in his essay that: Brecht also disparaged the causal through-line of Stanislavskian theory, both in his dramaturgy and in the work of his actors, whom attarctions admonished not to try to connect the separate moments made up of the actions enacted on the stage. The danger is in claiming it’s neutral until a story or interpretation are attached.


Alfred Hitchcock cites editing and montage indirectly as the lynchpin of worthwhile filmmaking. He distinguished the conflict of: Filmmakers took cues from their literary counterparts, implementing a narrative and character style reminiscent of communist cultural values.


Below are some factors that influenced the cinematic Socialist Realist approach. The scenes are often disparate and succeed one another rapidly, essentially presenting a journey of experience episode by episode. William Warburton December 9, at 9: Eisenstein’s Montage of Attractions.

Eisenstein In The Soviet Cinema”. I think that this passage merits being quoted in full as it leans towards the essence of what Eisenstein is getting at in this piece of writing: He explains that the ‘drumbeat’ of the soldiers’ feet descending the steps destroys all metrical conventions.

Monfage me on this computer. Films like Dziga Vertov’s The Man with a Movie Camera utilized montage almost all films did at the timebut packaged images without discernible political connection between shots.

Soviet montage theory – Wikipedia

That individual directors could compose and produce films by themselves at least in terms of credit and authorship made impossible the collectivization of filmmaking. Synthesis that evolves from the opposition between thesis and antithesis. As an classic sample Attractiond give us The ‘Odessa Steps’:.

Hanns Sach’s essays “Kitsch” and “Film Psychology” are used here to demonstrate Kitsch’s aesthetic distinction from the Realist project of the Soviet Union, and also to affirm Kitsch’s ability to create a more powerful affect than realism ever attractjons.

An Attraction in relation to the theatre is any aggressive aspect of the theatre; that is, any element of the theatre that subjects the spectator to a sensual or psychological impact, experimentally regulated and mathematically calculated to produce in him certain emotional shocks which, when placed in their proper sequence within eisenstrin totality of the production, become the only means that enable the spectator to perceive the ideological side of attracyions is being demonstrated — the ultimate ideological conclusion.


According to Marx and Engels the system of the dialectic is only the conscious reproduction of the dialectical course essence of the external events of the world.

In his film StrikeEisenstein includes a sequence with attractiona editing between the slaughter of a bull and police attacking workers. The example of several painterly renderings of Christ’s expulsion montate the moneylenders and his eventual resurrection demonstrate a consistent pathos, despite different artists and moments. Create or point out methods of creating genuine, attracttions newsreels. As an example we can use the sequence of the gods in October. He argued that “Montage is conflict” dialectical where new ideas, emerge from the collision of the montage sequence synthesis and where the new emerging ideas are not innate in any of the images of the edited sequence.

Because the pictures are relating to each other, their collision creates the meaning of the “writing”. Click here to sign up.

His understanding of montage, thus, illustrates Marxist dialectics. It is here that we can notice an aspect of the theatre which would later be taken up and expanded on by the French theatre theorist Antonin Artaud- namely, what would become the Theatre of Cruelty Eisenstein actually cites the Grand Guignol theatre which is discussed at length in The Theatre and its Double.