Comparison of Strike (Eisenstein 1925) and German Expressionism

1. Learning Outcomes
At the end of the session, students
• Must be able to describe the dominant characteristics
of Soviet Montage
• Should be able to describe the significance of
characterisation, editing & mise-en-scene
• Should be able to draw comparison between SM & GE
• Could be able to discuss the contributions SM made to
film as an art form

2. Comparing GE & SM
German Expressionism Soviet Montage
• SUBJECTIVE • OBJECTIVE
• Concerned with inner • The crowd / mass is the
reality as opposed to outer hero as opposed to
reality individuals
• Eclectic in terms of film
• Heavy in symbolism styles
• Entertainment – Documentary objectivism
– Naturalism
– Drama
– Slapstick
• Propaganda – film is
political act (dialectic)

3. Comparing GE & SM
German Expressionism Soviet Montage
• Presents the proletariat as • Presents the proletariat as
dehumanized / unnatural natural (placed amongst
(Metropolis, Lang 1929) trees / nature for meetings)
• Presents the bourgeoisie as
unnatural (placed amongst
pillars / artificial settings)

4. Expressionism in Soviet Montage
• Wheel – symbolic
motif of
revolutionary
progress
• Example of use of the
mise-en-scene to
convey meaning
• Think opening
sequence!

5. Questions
• Did Eisenstein neglect the impact of the mise-en-scene in
favour of the cinematic energy and impact of editing?
• How does Eisenstein use the mise-en-scene and editing
to highlight the differences between the classes?
• How successful do you think Eisenstein was in combining
mass entertainment with revolutionary politics?
• How has Soviet cinema influenced subsequent
filmmakers and film movements?

6. Discussion Points
Can you? –
• Identify the general differences between GE
and SM?
• Identify the similarities on a thematic level
and stylistic/formal level?