October: Ten Days that Shook the World (Sergei Eisenstein, 1928).
According to prominent Soviet director Sergei Eisenstein, there are five different types within Soviet Montage Theory: Metric, Rhythmic, Tonal, Overtonal and Intellectual. Eisenstein moved to Moscow in 1920, and began his career in theatre working for Proletkult. October: Ten Days that Shook the World (Sergei Eisenstein, 1928). The film recreates the events of October 1917 with live accompaniment by the London Symphony Orchestra.The screening takes place 100 years to the date after the storming of St Petersburg’s Winter Palace in Russia. Une conséquence est qu’on serait bien en peine de définir le flux des images d’ Octobre par la durée des séquences ou le point de vue de la caméra. Eisenstein began his career as a theorist in 1923, by writing "The Montage of Attractions" for art journal LEF. Par exemple, pour montrer que Kerensky cumulait tous les postes du gouvernement provisoire, il le montre plusieurs fois gravissant le même escalier du palais en énumérant ses différentes fonctions. In 1926, the October Revolution Jubilee Committee pulled Sergei Eisenstein, Grigorii Aleksandrov, and cameraman Eduard Tisse away from Generalnaia Liniia (The General Line, eventually completed in 1929) to begin work on a new film. Soviet Montage Theory – Battleship Potemkin A silent film directed by Sergei Eisenstein in 1925 that depicts the rebellion that occurred in 1905. Eisenstein combat la même illusion du récit cinématographique grâce au montage vertical. In “Montage October,” which appeared in Artforum in January 1973, Rosalind Krauss argues that Sergei Eisenstein's 1928 film was not only a celebration of a Marxist victory but also a demonstration of Marxist dialectical reasoning through montage. An example of this is in one of Eisenstein’s fllms called Battleship Potemkin where the character ‘Vakulinchuk’ dies. In his concept of film montage, images are presented for maximum psychological impact. It is more obviously ideological than his other films and Stalinist in its rewriting of significant events (Trotsky is a marginalised and mocked figure). Eisenstein’s film traces developments from the February Revolution until October 1917 and comments on events using montage sequences full of irony and emotion. Eisenstein explains his “montage of attractions” as the presentation of images chosen to create a maximum psychological impact. (1) Eisenstein utilise des associations d’images pour faire passer une idée, forme que l’on a nommée « le montage intellectuel ». While exploring his new passion and harnessing his academic background, Eisenstein published a 1923 article for LEF (Left Front of the Arts) entitled The Montage of Attractions, thus starting his career in theory. Kino Klassika presents Sergei Eisenstein’s 1928 silent film masterpiece, October, to mark the centenary of the Russian Revolution. Sergei Eisenstein’s theories of montage are well known but often oversimplified. It is more obviously ideological than his other films and Stalinist in its rewriting of significant events (Trotsky is a marginalised and mocked figure). The film recreates the events of October 1917 with live accompaniment by the London Symphony Orchestra.The screening takes place 100 years to the date after the storming of St Petersburg’s Winter Palace in Russia.



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