There are few filmmakers and film theorists as respected and revered as Sergei Eisenstein. As early as the 1920s, Eisenstein began writing about montage, and in 1924 published his groundbreaking “The Montage of Attractions” inLEF: Zhurnal Levogo Fronta Iskusstv
(The Journal of the Left Front of the Arts
), a periodical edited by the great Soviet poet Vladimir Mayakovsky. At the same time, Eisenstein was working on his first film, Strike
, which was released a year later. Shortly afterwards, his Battleship Potemkin
was also released. In a mere two years, Eisenstein’s published theoretical writings and the first filmic examples of his theory in practice changed the direction of cinema forever.Film Form: Essays in Film Theory
is a companion piece to Eisenstein’s earlier The Film Sense: Essays in Film Theory
. Here, Eisenstein’s later writings can be found, from his outstanding “A Dialectical Approach to Film Form” to “The Cinematographic Principle and the Ideogram.” The filmmaker includes diagrams, film stills, and shot sequences to illustrate his arguments and to intensify his charge towards intellectual cinema.