Problems of Film Direction by Sergei Eisenstein

By Sergei Eisenstein

Sergei Eisenstein is arguably an important unmarried determine within the heritage of films. He was once definitely the main flexible. The director of the masterpieces Battleship Potemkin and Alexander Nevsky, Eisenstein additionally wrote ground-breaking essays on movie paintings and taught sessions on movie creation. during this publication Eisenstein writes approximately movie directing.

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By Sergei Eisenstein

Sergei Eisenstein is arguably an important unmarried determine within the heritage of films. He was once definitely the main flexible. The director of the masterpieces Battleship Potemkin and Alexander Nevsky, Eisenstein additionally wrote ground-breaking essays on movie paintings and taught sessions on movie creation. during this publication Eisenstein writes approximately movie directing.

Show description

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Tracy’s angry outburst when Jed warns her not to harm “the kid” could as easily be the words of a woman infuriated with an unwanted pregnancy as a criminal wanting to eliminate an eyewitness. Furiously reviling the boy as “a little fucking troll who deserves to be put out of his misery for fucking up my life,” Tracy gives expression to an infanticidal rage that far exceeds the portrait of a greedy woman that her mother painted for Andy. Yet this eruption elicits as much spectatorial delight as shock.

For a discussion that explores noir through narrative strategies, see Telotte. For a definition through plot, see Damico. For a provocative argument against the legitimacy of the term, see Vernet. 2. As it often happens in the belated world of neo-noir, this characterological subterfuge is not new. Concealing the femme fatale behind a mask of innocence goes back at least as far as Otto Preminger’s ¡953 Angel Face. The di›erence is that Malice’s young heroine is not an ingenue but pretends to have maternal aspirations.

The Mannerist contaminatio comes from the conflation of Damico’s noir plot with a detective plot initiated by the protagonist. In Malice, the noir’s story of transgressive desire and crime is subordinated to the story of the hero’s violent initiation into masculinity. The first model that leaps to mind is Sam Peckinpah’s Straw Dogs (¡97¡)— with its bloodied academic protagonist facing murderous violence from other men and estrangement from his marriage. But even that film, over twenty years before Malice, had elements of Mannerism, as it used excesses of sex and violence, along with assaultive editing techniques, to give one more turn on what was already a well-worn cinematic formula.

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