Marxist film theory - Citizendia

Marxist film theory is one of the oldest forms of film theory. Film theory debates the essence of the cinema and provides conceptual frameworks for understanding film's relationship to Reality, the other Arts individual

Sergei Eisenstein and many other Soviet filmmakers in the 1920s expressed ideas of Marxism through film. Sergei Mikhailovich Eisenstein (Сергей Михайлович Эйзенштейн January 23, 1898 &ndash February 11, 1948) was The Union of Soviet Socialist Republics (USSR was a constitutionally Socialist state that existed in Eurasia from 1922 to 1991 A film director, or filmmaker, is a person who directs the making of a Film. The 1920s is sometimes referred to as the " Jazz Age " or the " Roaring Twenties " when speaking about the United States and Canada Marxism is the political philosophy and practice derived from the work of Karl Marx and Friedrich Engels. In fact, the Hegelian dialectic was considered best displayed in film editing through the Kuleshov Experiment and the development of montage. In classical Philosophy, dialectic (διαλεκτική is controversy the exchange of arguments and counter-arguments respectively advocating Propositions Film editing is an art of storytelling practiced by connecting two or more shots together to form a sequence, and the subsequent connecting of sequences to form an The Kuleshov Effect is a montage effect demonstrated by Russian filmmaker Lev Kuleshov in about 1918 Soviet montage theory is an approach to understanding and creating cinema that relies heavily upon editing ( montage is French for "putting together"

While this structuralist approach to Marxism and filmmaking was used, the more vociferous complaint that the Russian filmmakers had was with the narrative structure of Hollywood filmmaking. For the use of structuralism in biology see Structuralism (biology Structuralism is an approach to the human sciences that attempts to analyze A literary technique or literary device is an identifiable Rule of thumb, convention or Structure that is employed in Literature Filmmaking is the process of making a Film, from an initial story idea or commission through scriptwriting shooting editing and finally distribution to an audience

Eisenstein's solution was to shun narrative structure by eliminating the individual protagonist and tell stories where the action is moved by the group and the story is told through a clash of one image against the next (whether in composition, motion, or idea) so that the audience is never lulled into believing that they are watching something that has not been worked over. The Protagonist or main character is the central figure of a story.

Eisenstein himself, however, was accused by the Soviet authorities of "formalist error," of highlighting form as a thing of beauty instead of portraying the worker nobly.

French Marxist film makers, such as Jean-Luc Godard, would employ radical editing and choice of subject matter, as well as subversive parody, to heighten class consciousness and promote Marxist ideas. Jean-Luc Godard (French ʒɑ̃lyk gɔˈdaʀ (born on December 3 1930 is a French and Swiss Filmmaker and one of the founding members of the Nouvelle Vague A parody (ˈpɛɹədiː US, [ˈpaɹədiː] UK) in contemporary usage is a work created to mock comment on or poke fun at an original work its subject

Situationist film maker Guy Debord, author of The Society of the Spectacle, began his film In girum imus nocte et consumimur igni [Wandering around in the night we are consumed by fire] with a radical critique of the spectator who goes to the cinema to forget about his dispossessed daily life. Guy Ernest Debord ( December 28, 1931 - November 30, 1994) was a Marxist theorist French writer Filmmaker, hypergraphist The Society of the Spectacle ( La Société du spectacle) is a work of philosophy and critical theory by Situationist and Marxist theorist

Situationist film makers produced a number of important films, where the only contribution by the situationist film cooperative was the sound-track. In Can dialectics break bricks? (1973) a Chinese Kung Fu film was transformed by redubbing into an epistle on state capitalism and Proletarian revolution. La Dialectique Peut-Elle Casser Des Briques?, in English "Can Dialectics Break Bricks?", is a 1973 Situationist film China ( Wade-Giles ( Mandarin) Chung¹kuo² is a cultural region, an ancient Civilization, and depending on perspective a National Kung fu and wushu are popular terms that have become synonymous with Chinese Martial arts. State capitalism, in its classic meaning is a private capitalist economy under State control The proletariat (from Latin la ''proles'' "offspring" is a term used to identify a lower Social class; a member of such a class is proletarian A revolution (from the Latin revolutio, "a turnaround" is a fundamental change in power or organizational structures that takes place in a relatively The intellectual technique of using capitalism's own structures against itself is known as detournement. In détournement, an artist reuses elements of well-known media to create a new work with a different message often one opposed

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