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Due to some common interests between German and Russian aristocracy ( the Russians even had aristocrats in their past not to mention they had an Empress called Catherine the Great, as great as this German count's heiresses… ), it is not strange that this Teutonic count has understood and even enjoyed Herr S. M. Eisenstein's "Staroye I Novoye". It is not very usual that for the aristocracy to enjoy Bolshevist films full of proletarian demands that put private property at risk or as it happens in this case, a film about the Communist Party's policy on the subject of the collectivization of the Soviet agriculture. Normally this would be perfect gibberish for this German count, but thanks to Herr Eisenstein 's greatness and directorial talent, the hardships of the heroine of the film, Dame Marfa ( Dame Marfa Lapkina ) breached even the thick aristocratic Schloss walls. And that's one of the first remarkable aspects of this oeuvre; in spite of the political subject of the film, the powerful images and lyricism ( astonishing and beautiful shot compositions ), especially during the first part of the movie, preserve the artistic merits entirely while serving a propaganda purpose. The second remarkable aspect of the film is the dichotomy between the old and new, the fight to improve the lot of Dame Marfa and her countrymen. There are many discussions because it is not easy even in Russia to change ancient and conservative customs. There are superb metaphors and social criticism ( illiteracy, bureaucracy, religiosity ) which perfectly fit the film, and last but not least, "Staroye I Novoye", is a kind of archaic documentary about ancient customs established deeply in old Russia, those ones that our heroine must fight against. And there is also a lot about agriculture ( very enlightening for this German count), especially about harvesting and how to fatten Russian cows or pigs ( literally, no pun here… ). Herr Eisenstein had to bear during the last era of his film career, unbelievable censorship and mutilation of his work, as happens with "Staroye I Novoye". The film was reedited and Eisenstein accused of sympathizing with Trostky's policies but fortunately the film was restored and showed by the German-frenchified t.v. channel "ARTE", natürlich!, including an evocative music score by Herr Taras Bujewski, that fits superbly Herr Eisenstein primal artistic interests. And now, if you'll allow me, I must temporarily take my leave because this German Count must buy a tractor for one of his Teutonic heiress.
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大师就是大师
劳动人民的内部矛盾,如果浪漫与诗意也算一种生产力。。。【old.and.new.1929.1080p.bluray.DTS】magnet:?xt=urn:btih:9CE1A42F84F41F6CBD09631CDE9565068FC686F7
农村合作社的宣传片,当中还夹杂了对愚昧和官僚主义的批判。做梦一段类似“电影眼”的纪录片并出现了现代主义建筑。对土地和风俗的描述免不了让蒙太奇有了些原始的诗意。
蒙太奇在宣传中的作用,梦境与真实,牛的婚礼。缺点是太长了。爱森斯坦周游西方之前在苏联的最后一部电影。
久而久之他们学会了协作
壮硕公奶牛看的母奶牛的乳房,脚步移动,开始走,开始跑,开始以不可阻挡的趋势冲过去。这时画面切换到一阵阵排浪。真是洪水猛兽啊~
@FA
geometrique,formaliste,ideologie sovietique,la propagande.
处于新旧农业过渡期的群众们是矛盾的,但他们无一例外的都讨厌万恶的资本家。ps:顺便吐槽一下海报,跟特么恐怖片海报似的。。。
7.5/10。①某农村一群贫农(以一女贫农为主)积极响应政府的工农一体和农村公社政策并克服过程中的富农和官僚主义障碍从而成功走上集体致富的道路。②美而诗意的高水平摄影(光影/构图);大量表意上(戏剧性上不一定)高水准的蒙太奇,其中最喜欢使用奶油分离机那段。③作为传统故事片,故事讲的也太昏昏欲睡了;有几段脸部蒙太奇较失效导致比较鬼畜。
如何表达欧对爱大神的崇敬之情,宛若涛涛江水绵延不绝。一篇满分的命题作文:不只是编撰社会主义故事、服务于意识形态的范本(小人物,群体,危机的一次次生成与化解),更是一则电影语言的典范目录(构图与剪辑创生的张力真的也就黑泽外无出其右了)。天才之笔:牛的婚礼、割草对战、气球、长车阵。
我从来都是共产主义者,也从来都是女权主义者,二者必须挂钩,that's the way boundaries vanished
合作社诗意,看到掉眼泪……不过音乐实在太厉害了,单听小提琴曲已经是享受;刚开始荒凉的山野,破败的房子,配上漫天的云和那个小提琴曲,极度的美和极度的苦全都混在画面和音乐里。逆转大小形式的蒙太奇(反映—影像)特别美,脱脂机,官僚办公室,割草(太他妈的美了,甚至超过马西斯与鸟),行动或者情境在自身当中无限延伸,配上小提琴曲……而且宗教仪式和那个蜡烛的蒙太奇,完完全全的气态感知,真实至上的长镜头主义是绝对达不到的。文字已经完全玩到了艺术的高度,点卡得都正好,有很大诗意空间。这片最牛逼的一点就是真能把共产主义梦拍得那么美好而真实,然后让我很困惑。缺点:老毛病,很多蒙太奇概括过度(比如富农)。还是大形式意味太浓,看不到细微的人物,也就抓不到真实,再美,也像是一场虚梦。
1.社会主义好啊人民公社好 2.爱森斯坦开始着重叙事的时候 水平其实一般 3.女主角的笑脸太鬼畜 4.那段快放瞬移简直不能更矬 5.音乐太差了
看起来就是对爱森斯坦前期作品的手法大合集,除蒙太奇外,有特效技法叠映出奶牛地上有只高耸入云的大公牛以及真正的农民扮演朴实无华的女性,还有那些贯彻冲突的方法:有正反打性质的重叠性剪辑,精神镜头中调度上的视觉冲突。
不要讨论公有制和私有制的对比性,其实就是个人利益尽量做到最大化,才能得到拥护。反之就会迷失在制度之中,评判一种制度的好坏最终的标准还是个人所得。
大师级蒙太奇实验戏法。
7。牛拉犁耕倒地吐,众人除草时一寸,以一当十拖拉机,牛马休息木车弃
【BAMPFA】2018.3.14.3:10pm
9/10,大量的蒙太奇實驗,象徵、對比、隱喻都用上,CU的運用都發揮極致,大量極端角度(仰視、傾斜)。對於農村與城市、人力與機器等的對比展示,將仰視向天空的構圖,配合農民的艱辛工作,而利用蒙太奇表達機器的急速及力量,例如多角度拍攝攪拌機。亦因大量蒙太奇而導致沒有明確故事,像一堆情節堆砌