– Buy Hacia una teoria del montaje / Towards a Theory of Montage: Edicion a Cargo De Michael Glenny Y Richard by S. M. Eisenstein (Author). Hacia una Teoria del Montaje, Vol. 1 by S. M. Eisenstein at – ISBN – ISBN – Ediciones Paidos Iberica. sobre un aspecto básico de la teoría y práctica del cine: el que se conoce acerca del montaje, entendido éste en un sentido más amplIO EISENSTEIN.
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El acorazado Potemkin The multi-faceted Sergei Eisenstein has gone down in history for his mastery of filmmaking and, above all, for his theory of montage at a time when cinema barely had a couple of decades of existence. However, the avant-garde director also stood out for his extensive knowledge of art, studied engineering and spoke French, German and English.
All of this contributed to the eisenstekn that, despite his limited filmography -which does not reach 20 films and some of them unfinished- his work remains in force and he continues to review regularly for his contributions and influences in the filming, set design, and editing in European and American cinema. Sergei Mikhailovich Eisenstein was born in Riga, capital of present-day Latvia and then the city of the Russian Empire, on January 22, Son of a Jewish father and a Slavic mother, from a very young age he stood out for his ease and precision in drawing, gift that took him in to enter the School of Architecture of St.
It remained there for three years, since inthe year of the October Revolution, the future architect gave a turn to his eisensten future. Attracted by the Marxist revolution and convinced of his ideals and that eieenstein art could be useful to the montajr, Eisenstein enlisted in in the Red Army, where he came into contact with the theater to work as responsible for sets and as director.
It was undoubtedly his experience as stage director of the Teatro Obrero that prompted him to study theater direction at the eisensetin school.
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However, when he was 25 Eisenstein ended his theatrical career after a failure in the assembly of the work Masks of gas, in which, according to his words, eiseenstein car broke into toeria and the driver fell on his head”. This incident made him leave the theater and focus on the medium that gave him international prestige, the cinema, in which he was a risenstein in the use of editing, since for him, wisenstein was not a simple method used to link scenes, but a medium capable of manipulating the emotions of its audience.
His first contact with the cinema was the filming of a small short film included in the play El sabio, entitled El dia de Glomow. Such was his interest in the new artistic medium that, inhe shot the feature film La huelga, with a omntaje sequence in which he used images of cattle slaughtered in the slaughterhouse interspersed with others of workers shot by Czarist soldiers. From that moment the young Sergei devoted a large part of his work to researching the editing. Later he developed his own theory, something that would have a great influence on European and Hollywood directors and that still continues in force.
Sergei Eisenstein did not use professional actors in his assemblies because the plot of his works was directed to broader issues of society, especially class conflicts.
Its actors, therefore, were in most cases people without training in the dramatic field and came from social environments suitable for each role. With a single film shot, the young director was commissioned to shoot the commemoration of the Revolution, and what would become the most famous work of his career and one of the best in the history of cinema: The battleship Potemkin By then fel expectation was already great because it had provided intellectual coverage to the newborn mass show that was the cinema.
In the film, the scene of the mutiny on the ship and the vertiginous action yeoria of the staircase are milestones of the cinematographic language and one of the greatest achievements of mintaje silent cinema. The battleship Potemkin made his name known throughout the world and is possibly the film that has been written the most in the history of cinema.
The script was written heoria an eight episode film, but when shooting the episode dedicated to the battleship riot Eisenstein decided to focus the film on that episode. For this he looked for the survivors of the massacre and located the drawings of a Frenchman who had witnessed what had happened.
Thanks to a series of technical experiments reflective screens, defocused photography and mobile platforms among others the results were amazing. Eisenstein rolls his film in 1, shots combined with great mastery through a rhythmic montage, since he considers the movements of the camera unnecessary, and only makes several shots.
In The Battleship Potemkin highlights the scene of the stairway, with shots, in which the town is brutally attacked by the tsarist forces and where it creates an artificial ‘tempo’ that makes the sequence last almost six minutes. The film, with a splendid photograph in which the mass becomes the true protagonist of the work, will end up being considered the first masterpiece of cinema.
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Eisenstein y el montaje de atracciones | Entretantomagazine
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It’s not good for you to be more nervous than calm when there’s a misunderstanding or discussion at work. It’s not good for you to show that attitude. ENGLISH The multi-faceted Sergei Eisenstein has gone down in history for his mastery of filmmaking and, above all, for his theory of montage at a time when cinema barely had a couple of decades of existence.
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