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A review by djoshuva
Film Form: Essays in Film Theory by Sergei Eisenstein
5.0
“The affectiveness of a work of art is built upon the fact that there takes place in it a dual process: an impetuous progressive rise along the lines of the highest explicit steps of consciousness and a simultaneous penetration by means of the structure of the form into the layers of profoundest sensual thinking. The polar separation of these two lines of flow creates that remarkable tension of unity of form and content characteristic of true art-works. Apart from this there are no true art-works.”
“I don't know how my readers feel about this, but for me personally it is always pleasing to recognize again and again the fact that our cinema is not altogether without parents and without pedigree, without a past, without the traditions and rich cultural heritage of the past epochs. It is only very thoughtless and presumptuous people who can erect laws and an esthetic for cinema, proceeding from premises of some incredible virgin-birth of this art!”
“And the moment is drawing near when, not only through the method of montage, but also through the synthesis of idea, the idea of acting man, the Screen picture, sound, three dimension and color, that same great law of unity and diversity-lying at the base of our thinking, at the base of our philosophy, and to an equal degree penetrating the montage method from its tiniest link to the fullness of montage imagery in the film as a whole-passes into a unity of the whole screen image.”
“I don't know how my readers feel about this, but for me personally it is always pleasing to recognize again and again the fact that our cinema is not altogether without parents and without pedigree, without a past, without the traditions and rich cultural heritage of the past epochs. It is only very thoughtless and presumptuous people who can erect laws and an esthetic for cinema, proceeding from premises of some incredible virgin-birth of this art!”
“And the moment is drawing near when, not only through the method of montage, but also through the synthesis of idea, the idea of acting man, the Screen picture, sound, three dimension and color, that same great law of unity and diversity-lying at the base of our thinking, at the base of our philosophy, and to an equal degree penetrating the montage method from its tiniest link to the fullness of montage imagery in the film as a whole-passes into a unity of the whole screen image.”