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the film, shots of a bull being slaughtered are used to symbolize violence against the workers. Images of puddles and swimming link water to the workers early in the film. Later on, a heavy rain appears during the capture of the first leader, and firemen attack the workers with large jets of water. Circular shapes are originally associated with the workers, through images of spinning flywheels and turbines. During the strike the wheels are stopped, and the motif reappears as the barrels in which the provocateurs live and the wheels of the fire truck.
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in a mob. The owner is frustrated by orders arriving and the frozen plant. Demands are formulated: an 8-hour work day, fair treatment by the administration, 30% wage increases, and a 6-hour day for minors. The shareholders get involved with the director and read the demands. They discuss dismissively while smoking cigars and having drinks. Presumably on the orders of the shareholders, the police raid the workers, and they sit down to protest. At their meeting the shareholders use the demand letter as a rag to clean up a spill, and a
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632:, head of the First Goskino factory, wanted to recruit Eisenstein to work in cinema, but Proletcult wanted to keep him. They negotiated and decided on a joint collaboration, a film cycle called "Towards Dictatorship of the Proletariat". The cycle was to be a historical panorama focused on lessons learned by the Russian working class during the pre-revolutionary period, through political activities such as strikes and
880:"the first revolutionary creation of our cinema." However, public reaction to the film was mixed, particularly regarding its satire and grotesquerie. Proletcult officials attacked the film's "superfluous, self-directed formalism and gimmickry". Authorities were critical of its eccentricity and the relation between its ideological content and form.
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The scene opens with dead cats dangling from a structure. A character is introduced, a "King of
Thieves" whose throne is made of a derelict automobile amidst rubbish, and who leads a community that lives in enormous barrels buried with only their top openings above ground. After a deal with a tsarist
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received praise from critics, but many audiences were confused by its eccentric style. It received little international distribution until its reappraisal during the 1950s and 1960s. It is now recognized as one of
Eisenstein's more accessible works and a major influence on many of his contemporaries.
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in Moscow. After two days of test shoots, the board decided to remove
Eisenstein from the project. Only after Mikhin and Tisse personally guaranteed the film's completion was Eisenstein was given a third test shoot and allowed to continue with production. During filming, he continued to quarrel with
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The chapter begins with footage of ducklings, kittens, piglets, and geese. A child then wakes his father for work ironically with no work to do, they laugh and frolic. The factory is shown vacant and still with birds moving in. The children act out what their fathers had done, wheelbarrowing a goat
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is stolen, with a value of 25 rubles or 3 weeks pay. A worker, Yakov, is accused of the theft and subsequently hangs himself. Fighting ensues and work stops. The workers leave the milling room running and resistance is met at the foundry. The strikers throw rocks and loose metal through the foundry
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Eisenstein uses multiple visual motifs that, after being established with one side of the conflict, change over the course of the narrative arc. Early on, animal identities distinguish the police spies, and pushing goat in a wheelbarrow is equated to throwing out the factory manager. At the end of
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The governor sends in the military. A child walks under the soldiers' horses and his mother goes under to get him and is struck. Rioting commences, and the crowd is chased off through a series of gates and barriers heading to the forge, then their apartments. The crowd is chased and whipped on the
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noted the combination of realism and "fantastic clowning, remarking that, "there springs a lavish shower of fireworks: violations of every canon, experiments in method, such an abundance of trial runs as was never dreamed of in cinema before or seen since in a single work; diabolical and wavering
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Using typography, the word "но" (but) is added to the title of the chapter which then animates and dissolves into an image of machinery in motion. The administration is spying on the workers, reviewing a list of agents with vivid code names. Vignettes are shown of them. Conditions are tense with
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Scenes are shown of a line forming at a store which is closed, and a baby needing food. A fight occurs at a home between a man and a woman, subsequently she leaves. Another man rummages through his home for goods to sell at a flea market, upsetting his family. A posted letter publicly shows the
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police agent, the "King" hires a few provocateurs from among his community to set fire, raze, and loot a liquor store. A crowd gathers at the fire and the alarm is sounded. The crowd leaves to avoid being provoked but are set upon by the firemen with their hoses regardless.
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called it
Eisenstein's "most watchable" film, adding that "the harshly beautiful imagery…roots the movie effortlessly in down-to-earth reality, but its relentless energy and invention transform the whole thing into a raucous, rousing hymn to human dignity and courage."
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was completed in late 1924, its release was delayed because of a shortage of positive film stock. The film premiered in
Leningrad on 1 February 1925. It had a public viewing on 9 March and had a theatrical release on 28 April. In the years after its initial release,
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administrators rejection of the demands. Using a hidden camera in a pocket watch, a spy named "Owl" photographs someone stealing the letter. The pictures are transferred to another spy. The man is beaten, captured, and beaten again.
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windows. Then locked within the gates of the complex, the crowd confronts the office. They force open the gates and seize a manager carting him off in a wheel barrow dumping them down a hill into the water. The crowd disperses.
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applies
Eisenstein's principle of "montage of attractions". Developed during his work in theatre, the principle stipulates that each moment of a work should be filled with surprise and intensity. His influential essay,
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The strength of the working class is organization. Without organization of the masses, the proletarian is nothing. Organized it is everything. Being organized means unity of action, unity of practical activity.
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the studio over enormous demands, such as a thousand extras to form a mob in a scene from part five. Much of the crew resented him over the stringent production process, but
Eisenstein was generally unaware.
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Production began in early 1924. The board of
Goskino was afraid that Eisenstein would produce a plotless "montage of attractions". They had him begin with test shoots conducted at their studio on
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with footage of cattle being slaughtered, and similar animal metaphors are used throughout the film to describe various individuals.
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is dynamic, with masks in front of the camera being added or removed to change the framing of a shot. The film also makes use of
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received little international distribution, only to
Germany and Austria. The film was re-released in 1967 with a musical score.
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was selected to enter production first as a joint production between
Proletcult and Goskino. One of the episodes from
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A police officer conducts a raid on the workers (top) as a stockholder squeezes the juice of a lemon (bottom).
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balconies. A policeman murders a small child. The workers are driven into a field by the army and shot
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has an average shot length of 2.5 seconds, less than half that of a typical Hollywood film.
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at her house; however, after it was officially accepted he removed her from the project.
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metaphorically represents the pressure the stockholders intend to apply to the strikers.
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Eisenstein's editing is rapid, even compared to other Soviet filmmakers of the era.
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again and again, until we can understand it and adopt its power for our own."
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during the mid 1960s, appreciating its vibrant eccentricity. In a review for
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and troves of historical documents as source material for the script.
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This is shown with alternating footage of the slaughtering of a cow.
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revives/quotes the slaughtering of the cow metaphor at the end of
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changes of mood…everything in such overpowering quantity". In the
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Studio head Boris Mikhin introduced Eisenstein to cinematographer
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International Exhibition of Modern Decorative and Industrial Arts
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Wheels are a recurring visual motif often linked to the workers.
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would later be expanded to form Eisenstein's second feature,
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watchable on RussianFilmHub.com with English subtitles
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891:. After the film's first British screening in 1956,
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449:Провокация на разгром / Provocation and debacle
1607:Kino: A History of the Russian and Soviet Film
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1660:Eisenstein in the Memoirs of Contemporaries
1587:, Cambridge, MA: Harvard University Press,
1565:, Woodstock, New York: The Overlook Press,
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747:Eisenstein cast many of the roles from the
706:, and Eisenstein. They used memoirs of the
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1375:[Sublimation as Form Production].
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440:Стачка затягивается / The strike draws out
305:Arranged in six parts, the film depicts a
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986:' Essential Cinema Repertory collection.
1656:Эйзенштейн в воспоминаниях современников
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1311:. Vol. 26, no. 2. p. 107.
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485:of fleeing crowds (top) are edited with
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956:. Its innovations were embraced by the
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675:were identified as having mass appeal.
309:in 1903 by the workers of a factory in
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1563:Sergei Eisenstein: A Life in Conflict
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489:of a bull being slaughtered (bottom).
356:The film opens with a quotation from
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1911:Films directed by Sergei Eisenstein
1019:Routledge Encyclopedia of Modernism
427:Завод замер / The factory dies down
1015:"Strike (Sergei Eisenstein, 1925)"
722:, who had started his career as a
302:emerged from the same film cycle.
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1632:Leyda, Jay; Voynow, Zina (1982),
1373:"Сублимация как формообразование"
1021:(1 ed.), London: Routledge,
845:for the film's release in Austria
383:Повод к стачке / Reason to strike
1305:Montagu, Ivor (1956). "Strike".
906:likened its rhythmic editing to
687:. The screenplay was written by
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1931:Films set in the Russian Empire
1027:10.4324/9781135000356-rem1221-1
740:. He worked on the script with
1896:Films about the labor movement
958:Factory of the Eccentric Actor
16:1925 film by Sergei Eisenstein
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1921:Russian black-and-white films
1662:] (in Russian), Iskusstvo
1926:Russian silent feature films
1916:1925 directorial debut films
1876:Soviet black-and-white films
551:— Member of strike committee
1936:Films about labor relations
1881:Soviet silent feature films
532:I. Ivanov — Chief of police
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496:Ликвидация / Extermination
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971:saying, "We must all see
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1585:The Cinema of Eisenstein
1013:Nieland, Justus (2016),
658:Prison Riots and Escapes
634:underground publications
311:pre-revolutionary Russia
1616:2027/mdp.39015003853564
1609:, New York: Macmillan,
1534:Anthology Film Archives
1278:Leyda & Voynow 1982
1164:Leyda & Voynow 1982
984:Anthology Film Archives
280:directed and edited by
202:28 April 1925
1636:, New York: Pantheon,
1378:Kinovedcheskie zapiski
978:In the United States,
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793:Montage of Attractions
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636:. It had seven parts:
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1489:(10 September 2012).
994:Apocalypse Now (1979)
967:group, with director
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726:cameraman during the
601:(left) with director
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1901:Films shot in Moscow
1811:Romance sentimentale
1061:Irish Film Institute
990:Francis Ford Coppola
615:experimental theatre
292:and the film studio
1891:Russian drama films
1787:Battleship Potemkin
950:Alexander Dovzhenko
693:Grigori Aleksandrov
685:Battleship Potemkin
599:Grigori Aleksandrov
521:Grigori Aleksandrov
299:Battleship Potemkin
273:) is a 1925 Soviet
242:Russian intertitles
177:1st Goskino Factory
120:Grigori Aleksandrov
68:Grigori Aleksandrov
1941:Silent drama films
1886:Soviet drama films
1757:Films directed by
1692:TCM Movie Database
1652:Yurenev, Rostislav
1634:Eisenstein at Work
1530:"Essential Cinema"
1369:Iampolski, Mikhail
1268:, pp. 182–183
926:Les Temps modernes
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812:multiple exposures
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749:Proletcult Theatre
697:Ilya Kravchunovsky
619:Proletcult Theatre
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564:— Queen of thieves
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290:Proletcult Theatre
73:Ilya Kravchunovsky
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1843:Ivan the Terrible
1819:¡Que viva México!
1759:Sergei Eisenstein
1643:978-0-394-74812-2
1594:978-0-674-13138-5
1308:Sight & Sound
1036:978-1-135-00035-6
969:Grigori Kozintsev
689:Valerian Pletnyov
603:Sergei Eisenstein
567:Anatoli Kuznetsov
549:Aleksandr Antonov
523:— Factory foreman
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282:Sergei Eisenstein
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1539:28 September
1537:. Retrieved
1524:
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1502:28 September
1500:. Retrieved
1494:
1481:
1476:, p. 50
1469:
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1396:28 September
1394:. Retrieved
1389:
1376:
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1343:, p. 97
1317:
1306:
1292:, p. 46
1285:
1273:
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1234:
1227:Yurenev 1974
1214:, p. 92
1207:
1195:
1190:, p. 91
1183:
1178:, p. 10
1171:
1166:, p. 16
1132:Yurenev 1974
1112:
1107:, p. 58
1100:
1095:, p. 54
1088:
1083:, p. 51
1076:
1064:. Retrieved
1060:
1051:
1040:, retrieved
1018:
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979:
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947:
934:
931:Geoff Andrew
924:
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893:Ivor Montagu
888:
883:At the 1925
882:
877:
867:
865:
855:
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848:
834:A poster by
820:
808:aspect ratio
799:
797:
792:
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786:
758:
746:
735:
720:Eduard Tisse
717:
684:
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623:Boris Mikhin
610:
608:
555:Yudif Glizer
517:— Police spy
502:
499:
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443:
430:
386:
373:
363:
355:
345:
329:Plot summary
321:
319:
304:
297:
285:
249:
248:
247:
230:Soviet Union
218:Running time
195:Release date
145:Eduard Tisse
101:Boris Mikhin
18:
1474:Bergan 1997
1440:, p. 8
1438:Bergan 1997
1426:Bergan 1997
1381: [
1341:Bergan 1997
1290:Bergan 1997
1251:Bergan 1997
1239:Bergan 1997
1212:Bergan 1997
1200:Bergan 1997
1188:Bergan 1997
961: [
908:T. S. Eliot
839: [
836:Mihály Biró
764: [
700: [
642:Underground
626: [
589:Development
579:Misha Mamin
558: [
539: [
350:intertitles
239:Silent film
104: [
97:Produced by
76: [
51:Directed by
40: [
1866:1925 films
1860:Categories
1603:Leyda, Jay
1552:References
1517:Leyda 1960
1462:Leyda 1960
1450:Leyda 1960
1411:Leyda 1960
1356:Leyda 1960
1266:Leyda 1960
1147:Leyda 1960
1117:Leyda 1960
816:iris shots
742:Esfir Shub
732:Émile Zola
708:Bolsheviks
667:Of those,
597:Co-writer
584:Production
483:Wide shots
389:micrometer
377:Bolsheviks
222:82 minutes
206:1925-04-28
169:Production
61:Written by
1846:(1944-46)
862:Reception
849:Although
804:Dissolves
734:'s novel
728:Civil War
609:Prior to
503:en masse.
487:close-ups
315:cross-cut
264:romanized
235:Languages
160:Edited by
1714:AllMovie
1605:(1960),
1583:(1993),
1561:(1997),
1496:Time Out
1491:"Strike"
1371:(1999).
1057:"STRIKE"
936:Time Out
910:'s poem
737:Germinal
724:newsreel
529:— Worker
114:Starring
1690:at the
1625:1683826
1392:: 66–87
876:called
826:Release
755:Filming
662:October
646:May Day
605:(right)
294:Goskino
270:Stachka
266::
255:Russian
227:Country
204: (
188:Goskino
171:company
1838:(1938)
1830:(1937)
1822:(1937)
1814:(1930)
1806:(1929)
1798:(1928)
1790:(1925)
1782:(1925)
1779:Strike
1774:(1923)
1720:Strike
1709:Strike
1698:Strike
1687:Strike
1676:Strike
1640:
1623:
1591:
1569:
1066:4 June
1042:4 June
1033:
980:Strike
973:Strike
944:Legacy
921:Strike
889:Strike
878:Strike
869:Pravda
856:Strike
851:Strike
800:Strike
788:Strike
677:Strike
673:Strike
660:, and
654:Strike
611:Strike
346:Strike
322:Strike
307:strike
286:Strike
275:silent
259:Стачка
250:Strike
24:Strike
1658:[
1385:]
1000:Notes
965:]
843:]
768:]
704:]
630:]
562:]
543:]
108:]
80:]
44:]
1681:IMDb
1638:ISBN
1621:OCLC
1589:ISBN
1567:ISBN
1541:2022
1504:2022
1398:2022
1068:2024
1044:2024
1031:ISBN
952:and
866:For
814:and
681:1905
671:and
669:1905
650:1905
509:Cast
1712:at
1679:at
1611:hdl
1023:doi
933:of
360::
1862::
1619:,
1532:.
1493:.
1418:^
1390:43
1383:ru
1348:^
1329:^
1297:^
1258:^
1219:^
1154:^
1139:^
1124:^
1059:.
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1017:,
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963:ru
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841:hu
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628:ru
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560:ru
541:ru
387:A
261:,
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42:ru
1750:e
1743:t
1736:v
1664:.
1647:.
1628:.
1613::
1598:.
1576:.
1543:.
1506:.
1400:.
1070:.
1025::
352:.
253:(
208:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
