By Peter Freyd
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He thought theater should be based on what he called a “montage of attractions,” which would take theater back to its primitive roots in spectacle or circus entertainment. Eisenstein envisioned a political theater in which spectators could be pleasured and thrilled by wondrous circus attractions and spectacles, while at the same time they were instructed in correct political views and values through carefully constructed political satires. Eisenstein’s theatrical productions were performed not on a traditional stage but in an area resembling a circus arena, with most of the players wearing masks.
When a character is sympathetic, a big closeup can increase our feeling of intimacy and deepen our identiﬁcation with the character. ” The intense effect of the big close-up in shot 20 heightens the effect of shot 21. Here Flora appears as in shot 19, from Gus’s point of view in a medium shot. She is laughing and blowing kisses at the squirrel. ) If we were to see this shot in almost any other context it would connote innocence and joy. But because we know we are looking at Flora from Gus’s perspective her actions take on new signiﬁcance.
The goal of these workshops was to determine the best methods for shaping the ﬁlm medium into a powerful tool of instruction and propaganda. As they began to study ﬁlm systematically in these workshops, Soviet ﬁlm pioneers were deeply impressed by the emotional effects generated by D. W. Grifﬁth’s narrative techniques—his use of the close-up, his innovative camera movements, and the way he changed camera angles. They were especially excited by his crosscutting and editing rhythms. The Soviet pioneers were inﬂuenced most by Grifﬁth’s Intolerance (1919), the next ﬁlm Grifﬁth made after The Birth of a Nation.