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Essay / Research Paper Abstract
A 3 page paper which examines how each director developed their respective approaches to filmmaking with a view towards creating a revolutionary new kind of cinema, and compares and contrasts their different cinematic style approaches (such as casting, editing, and narrative). Bibliography lists 3 sources.
Page Count:
3 pages (~225 words per page)
File: TG15_TGpudeis.rtf
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Unformatted sample text from the term paper:
began searching for "radical new means of creative expression" as a way of feeling connected to their new and foreign surroundings (Fabe 20). Communist leader Vladimir Lenin was an
admirer of films, and was a particular fan of American film director D.W. Griffiths Intolerance (1916) (Fabe 21). Contemporary film historians believe that "Griffiths powerful shot juxtapositions suggested to
the Soviet filmmakers and theoreticians that editing was the foundation of film art" (Fabe 22). This montage cinematic effect - a "creative, artful arrangement of shots" - made a
profound impression on film students V.I. (Vsevolod Illarionovich) Pudovkin (1893-1953) and Sergei (or Sergey) Eisenstein (1898-1948) (Fabe 22). Both Pudovkin and Eisenstein developed their respective approaches to filmmaking with
the intention of creating a revolutionary new kind of cinema. However, as illustrated in Pudovkins film Mother and Eisensteins October, despite some similarities these auteurs typically took different approaches
to filmmaking, most notably, in terms of casting, editing, and narrative. Pudovkin regarded film as more than a visual medium; he was interested in creating images that would pack
a psychological punch as well. His films reflect a humanistic approach, which is deeply character driven, and that influenced his casting (Manvell 37). While Pudovkin would occasionally use
non-professional actors in the name of realism, he preferred relying on professionals that could successfully handle the emotional demands of their roles (Lindgren 80). Eisenstein, on the other hand,
envisioned cinema on a far more grand and "epic scale" (Manvell 37). He was interested first and foremost in theatricality or of the staging of the film itself, and
casting was viewed as little more than Eisensteins props (Lindgren 80). He believed non-professionals most effectively conveyed the realism he sought to portray (Lindgren 80). For all Russian filmmakers,
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