soviet propaganda film

As the British join the festival and make a grand entrance into the temple, Western pomp meets Eastern pomp, both meant to disgust the viewer. With Nikolay Cherkasov, Nikolai Okhlopkov, Andrei Abrikosov, Dmitriy Orlov. Eisenstein cuts between the people groveling and sheep—thirsty sheep, panting mindlessly. Russia is surrounded by foreign enemies, and is threatened from within by spies and scheming Boyars.69 At one point Ivan leaves Moscow, only to return when the people beg him to come back. The United States had the largest film industry of any of the Allied powers, and its use for propaganda purposes is legendary. All countries are doing that kind of propaganda, some even call it agitprop, which is a dignified genre in literature and theater with among other names Bertold Brecht but our democrats generally wrap it up in some kind of patriotic and even artistic garb that means something like garment, clothing, wrapping, etc, and has little to do with garbage. When it was not possible to eliminate Trotsky’s role entirely, he was instead made to look foolish, inept, or even traitorous in the retelling of historical events. The February Revolution of 1917 saw the collapse of the Tsarist government, which was replaced by the Provisional Government, in which power was shared between various political factions, chiefly through the bourgeois-dominated legislature, the Duma, and the councils of workers and soldiers, the Soviets.11 Alexander Kerensky, one of the leaders in the Duma who supported the February Revolution, rose to prominence in the Provisional Government and, after the July Days, became the effective head of state. Federal Cinema: The Soviet Film Industry, 1924-32. During the 1920s, the Communist Party launched a great propaganda campaign to win the hearts and minds of the Russian people—and to stir workers throughout the world to revolution.16 Lenin, the preeminent leader of the Bolsheviks, died in 1924, and party leaders contended to fill the power vacuum. Soviet film went through three major periods during those years: The Revolution through the end of NEP, Stalin’s Revolution and modernization, and the Great Patriotic War years. served a couple purposes at the time. While propagandistic images had been used in various ways throughout history, moving images offered something fresh. Was Eisenstein dabbling in too much experimental “formalism,” rendering his work unsuitable for the masses? The film shifts between shots of the distressed sailors and the spoiled meat to the maggots and the conniving expressions of the evil leaders.20 With this tactic, Eisenstein accomplishes two important things: he wins the viewer’s loyalty to the sailors and he establishes the Tsarist leaders as a force that must be eliminated. If a filmmaker wanted his work to be seen, he had better take Stalin’s side, and make sure that any hint of criticism was very cleverly veiled. First, there is a shift in story-telling: whereas. The British fur trader holds up his bloody hand, which is followed by an intertitle reading, “Avenge the white man’s blood!”, Pudovkin rapidly cuts between close-ups of the bloody hand, images of capitalists shouting for vengeance, and troops marching in. During the Khrushchev thaw, censorship in the Soviet Union was relaxed somewhat, and Russian filmmakers had more freedom in their cinematic expression. Whether such renunciations were real or coerced by Stalin’s operatives, they were useful in promoting the break with old values. Was this review helpful to you? For example, whether or not Eisenstein intended. Still, the Bolsheviks would look much better cast as heroic saviors of the people’s Revolution from the betrayal of a new Tsar (or a new Napoleon) than as one political party among many who seized an opportunity. The moralistic tone might irritate westerners because it advocates Soviet morality and history, but just watch the Walt Disney film on Pocahontas and you will have a remarkable film of colonial propaganda justifying the extermination of Indians, once they had been exterminated. There the priests pray to heaven, asking for rain, while the peasants grovel in the dirt. In 1896, the Lumière brothers visited Saint Petersburg to present their collection of moving pictures to a small Russian audience, marking the first viewing of film in Russia.1 The first film to be made in Russia was during the same year: a filming of the coronation of what would be Russia’s last monarch, Tsar Nicholas II.2 It would take nearly a decade for Russia to have its own film studio, and the advent of World War I slowed the influx of foreign cinema, leaving Russia to launch its own film industry instead of relying predominantly on foreign film distributors.3 Once established, Russia’s film industry grew, and, by 1914, about half of Russia’s urban population regularly attended the movies.4. Eisenstein displays his montage techniques again during the “Drama on the Quarter Deck” scene when he cuts quickly from the commander’s orders to kill the sailors, to the faces of the distraught sailors, and then to the action shots of the chaos.21 With this style of fast-paced editing between images, Eisenstein establishes a sense of expressive panic and disorder to communicate his themes on both an intellectual and a gut level. The British commandant hesitates for a moment, and then bows solemnly. The film shifts between shots of the distressed sailors and the spoiled meat to the maggots and the conniving expressions of the evil leaders. Highlights: 00:09 Criminal case against Penkovski O.V. Stalin commissioned the film because it emphasizes a single, strong leader: a Tsar from Russia’s autocratic history. These anti-religious themes are on display in films like. The story of how a great Russian prince led a ragtag army to battle an invading force of Teutonic Knights. The reality of collectivization fell far short of what was promised to the peasants, and it was a disastrous failure, largely responsible for famine and the deaths of millions.61 These embarrassing failures of the Communist Party’s policy made its defense in propaganda that much more important. Film was a new medium. Animated Soviet Propaganda The film starts by setting the stage for revolt. To Russians it was a call to embrace the vision of communism; to workers around the world it was a call to follow the example of their brothers and sisters in Russia. Regardless, both the content and the method of film had evolved dramatically from 1925 to 1946 to suit the changing needs of the Communist Party. Was the Revolution now complete, as Stalin claimed, or had it been betrayed, as Trotsky, Orwell, and others believed? Kerensky’s place in history is certainly open to debate. The Bolsheviks argued for an end to dual power, embodied in the slogan “all power to the Soviets,” and they organized Petrograd workers to seize power from the Provisional Government in the October Revolution of 1917.13 The Bolsheviks declared the Soviets to be the sole organ of power, and thus began the Soviet Union, marking the first time in history that workers seized and held power for themselves. The Bolsheviks focused their film industry on promoting specific communist themes among the Russian people and around the world. Welcome to Film Inspector! The USSR wanted to beat the capitalist West at what the West did best, and the USSR knew this would require a herculean effort. During the 1920s, the Communist Party launched a great propaganda campaign to win the hearts and minds of the Russian people—and to stir workers throughout the world to revolution. In the meantime, it continued to honor Russia’s war commitment to the Allied Powers, seen by many workers and soldiers as a betrayal of the February Revolution, which had been precipitated largely by the fury of the hungry women of Petrograd who had had enough of the horror of World War I. In the end, the British commandant announces, “If within twenty-four hours the criminal is not surrendered the entire population will be fined and punished by example.”, The sequence ends on another shot of the soldiers aiming their rifles, preparing to fire. A brawl ensues, and it ends with the Mongol pulling out a knife and cutting the dishonest trader’s hand. Like Stalin, Ivan is an iron-fisted ruler only because he must be for the good of the Russian people. Soviet films from the 1940s bear little resemblance to the brilliant montage of the 1920s. Want to share IMDb's rating on your own site? The Soviet propaganda film ‘4 Newsreels’ consists of four so-called ‘political posters’, which are as blatant as propaganda can get. Over the course of these periods, Soviet film focused successively on the following key objectives: enshrining the ideals of the Revolution; solidifying the Bolsheviks’ version of history and justifying Bolshevik leadership; promoting international revolution and calling on workers everywhere to unite against their oppressors; demonstrating the power of the people working together; elucidating the concept of the “New Soviet Person” and of the cultural revolution; showing the ongoing struggle against class enemies; promoting the controversial policy and methods of collectivization; demonstrating how industrialization would improve the lives of ordinary people while bringing society closer to the communist ideal; and celebrating Stalin as the strong leader of the Russian people and justifying questionable means to protect the people from enemies foreign and domestic. Later in the film, there is a compelling sequence cutting between two scenes: preparations for a Buddhist festival and a British commandant and his wife dressing up to meet the Grand Lama at that festival. is the “Odessa Steps” sequence, in which soldiers march down the steps in an inhuman, almost robotic display of oppression, slaughtering droves of innocent people and culminating in a bloody massacre. Stalin’s rivals, chief among them Leon Trotsky, were purged from the party, and their roles in history were often diminished or distorted in Stalinist propaganda.17 But in the years before Stalin crushed all opposition and stifled both political and creative freedom, groundbreaking master filmmakers, such as Sergei Eisenstein, Dziga Vertov, and Vsevolod Pudovkin, invented an exciting Soviet cinema unlike anything produced in the world thus far. , audiences were reminded of the suffering of the Russian people before the October Revolution and the need for the Bolsheviks’ bold leadership. Get a sneak peek of the new version of this page. The hero of this WWII Soviet propaganda effort is a regional Communist Party secretary, who stays behind as the Army pulls out, to lead a partisan unit. Unlike the harsh reality of collectivization in the present, this beautiful film was intended to reassure the people of the new future that collectivization would (supposedly) soon bring them. In 1923, after years of fighting, social and economic upheaval, famine, brutal tactics to crush counterrevolution, conscription, nationalization of industries, crop seizures, and millions dead, the Bolsheviks achieved a ruinous, costly victory, and the future of Soviet communism and of all that they had fought for was far from certain. Eisenstein provides a contrast between religion and modernization, between the old world and the new. The death of Lenin caused the Bolsheviks to worry about the exhaustion of the revolution, so they felt the need to continue to take advantage of the power of propaganda to keep those fires burning. The Millionaire produced in 1963 is one of those rather crude propaganda pieces that involves the main subjects of the Soviet official satire of the 1960s: the American politics and society, capitalism, contemporary Western art, and pop-culture. An early sequence depicts the people tearing down a statue of the Tsar—his head topples, then the orb and scepter, then the arms, and then the whole statue falls. As the British join the festival and make a grand entrance into the temple, Western pomp meets Eastern pomp, both meant to disgust the viewer. Only one scene with Trotsky remains: at a meeting of the Bolsheviks, Trotsky is shown opposing Lenin’s brave plans to seize power in the name of the proletariat. For instance, Mikhail Kalatozov’s 1957 film The Cranes Are Flying tells a story of the Great Patriotic War, but instead of the prior patriotic Soviet take, the movie depicts the psychological damage of the war on the Soviet people, especially women.74 Similarly, Andrei Tarkovsky’s 1962 film Ivan’s Childhood also deals with the effects of World War II on the mind of a child.75 Soviet filmmaker Sergei Parajanov embraced this new artistic freedom in The Color of Pomegranates (1969), a picture that focuses on the life of a poet almost exclusively through experimental imagery.76 This period demonstrated the diversity of Soviet filmmakers, who began to focus on the personal and the psychological rather than the collective and the political. He believed that nature’s eternal fluctuation is dialectical—the result of the conflict and synthesis of opposites.”22. Eisenstein’s, begins with a quotation from Lenin: “The strength of the working class is organization. If a filmmaker wanted his work to be seen, he had better take Stalin’s side, and make sure that any hint of criticism was very cleverly veiled. Later, a similar scene cuts between images of Napoleon to Kerensky standing in a Napoleonic pose.40 The Bolsheviks had long been concerned that, after a successful revolution, a Napoleon-like leader might arise: They had learned the lessons of history and had no intention of letting the Russian Revolution degenerate as the French Revolution had done when Napoleon Bonaparte declared himself Emperor. The Bolsheviks nationalized the film industry in 1919, giving the People’s Commissariat for Education control over film production, with a mandate to use cinema to promote the Communist cause at home and abroad. Revolution of the proletariat against the bourgeoisie, international and timeless. However, the Bolsheviks would revolutionize Russian cinema as leaders recognized the potential of film propaganda as a way to influence the political and social attitudes of the people. To the Bolsheviks in 1917, as well as to Stalin in 1927, Kerensky’s role was necessarily fixed as a villain—a traitor to the February Revolution who sided with the Western imperialist powers against the suffering people of Russia—and the only legitimate election was through the workers’ and soldiers’ Soviets, which had, in October 1917, chosen the Bolsheviks to lead the workers’ seizure of state power. While the films during the thaw went a variety of new directions, during the years from the 1917 Revolution to the death of Stalin in 1953, Soviet film propaganda evolved in both substance and form to reflect the changing goals of the Communist Party. The tumultuous period from 1917 to 1927 began with a Tsar who ruled over the Russian Empire and ended with a Communist Party leader who exercised unrivaled control over the new Union of Soviet Socialist Republics (USSR). Without organization of the masses, the proletarian is nothing. The film was very successful in the Soviet Union, but Stalin pulled it from circulation in 1939 when he signed his pact with Hitler. Kerensky’s place in history is certainly open to debate. Much of the rest of the film celebrates the workings of a collective farm with similarly happy results. Thus, film offered unprecedented realism beyond the traditional effect of pamphlets, posters, and even photography. Films such as Vsevolod Pudovkin’s Mother (1926), Dziga Vertov’s Forward, Soviet (1926), Esfir Shub’s The Fall of the Romanov Dynasty (1927), and Alexander Dovzhenko’s Zvenigora (1928) all reminded the audience that the revolution was necessary and justified in order to continue towards the goal of communism.50 Some of these themes would continue into the Stalin years, but the focus shifted towards ideas about the “New Soviet Person,” the cultural revolution, and the continued fight against class enemies.51. In Battleship Potemkin, Eisenstein created a dramatized version of the mutiny that occurred on the Russian battleship Potemkin during the 1905 revolution, engaging the viewer’s sympathies with exaggerated characters (one might call them “Marxist archetypes”).19 The film starts by setting the stage for revolt. Alexander Kerensky, one of the leaders in the Duma who supported the February Revolution, rose to prominence in the Provisional Government and, after the July Days, became the effective head of state. If Stalin’s measures were iron-fisted, it was because Mother Russia was threatened by invasion, by spies, and by other class enemies. This period demonstrated the diversity of Soviet filmmakers, who began to focus on the personal and the psychological rather than the collective and the political. The Bolsheviks declared the Soviets to be the sole organ of power, and thus began the Soviet Union, marking the first time in history that workers seized and held power for themselves. 4th grade schoolboy Vasya Rubtsov is experiencing the death of his beloved best friend the cow. Such renunciation, if done publicly, provided dramatic support for the Soviet position that religion was a fraud that had been discredited by modern science. One of the Germans in the film even wears a design that highly suggests the swastika. Once established, Russia’s film industry grew, and, by 1914, about half of Russia’s urban population regularly attended the movies. These class enemies work together to exploit the honest and noble people of the eastern steppe.52 In Storm Over Asia, Pudovkin promotes several themes of Soviet propaganda: the continuing, international spirit of the Revolution; the ongoing struggle against various class enemies, at home and abroad; and the need for modernization to lift the people out of the darkness of superstition and religion. Their target was the new nation and their goal was to win over the hearts and minds of the Soviet people. The film also tackles the need for the New Soviet Person to cast off the superstitions and backwardness of the old days. Soviet filmmaker Sergei Parajanov embraced this new artistic freedom in. The priest employs various superstitious trinkets and noisemakers to heal the sick man—not medicine, just idle noise. Directed by Joan Borsten, Boris Ablynin, Leonid Amalrik. Eisenstein’s Alexander Nevsky (1938), a great historical epic, depicts the thirteenth-century battle on the frozen lake, in which Alexander Nevsky led the Russians against the invading Teutonic Knights.68 Released in 1938, as Hitler was swallowing up Austria and the Sudetenland, it is no mistake that Eisenstein’s subject was a great Russian victory over German invaders. October displays yet again Eisenstein’s successful use of montage and powerful symbolism. Modernization was a precondition for communism and necessary for defense against invasion, and, in 1928, Stalin’s First Five-Year Plan made modernization the Soviet Union’s top priority. Animated Soviet Propaganda (Video 1997) - IMDb. Eisenstein’s Strike begins with a quotation from Lenin: “The strength of the working class is organization. These fears were tackled in both Vsevolod Pudovkin’s, (1927) and Eisenstein and Grigori Aleksandrov’s, (1928). The Soviet Union recognized that it was isolated, and that, if the communist ideal was to be achieved, the Russian people would have to do it themselves. The Provisional Government sought to balance the interests of competing factions of Russian society until elections for a constituent assembly could be held. Votes: 2,563. Finally, if the Soviet people were to transform their nation and its production, they would also need to transform themselves. Louis Giannetti notes on Eisenstein’s editing that “Eisenstein believed that the essence of existence is constant change. We have here real special effects and great editing, without speaking of the animation that is at times frankly creative and even avant-garde, and of the voices and music when there was music (composed by rather inspired composers) and voices after the silent cinema gave way to the talkies. It then discusses some of the economic development plans that resulted in prosperity in the 1930s in the USSR. Use the HTML below. The Mongol runs off. (1946) as a criticism, it was perceived as such, and it was not released until 1958. And do not believe Méliès invented special effect. The British fur trader holds up his bloody hand, which is followed by an intertitle reading, “Avenge the white man’s blood!”54 Pudovkin rapidly cuts between close-ups of the bloody hand, images of capitalists shouting for vengeance, and troops marching in. Russia is surrounded by foreign enemies, and is threatened from within by spies and scheming Boyars. In short, Soviet film propaganda evolved in both content and style to reflect the changing political goals of the party during these periods. The film on Mayakovsky for example is a great example of animation and voice performing. Second, gone is the fast-cutting of Eisenstein’s signature montage. An intertitle asks, “deception or progress?”, As the machine churns, the people see that it works, and they rejoice in their newfound prosperity. At one point Ivan leaves Moscow, only to return when the people beg him to come back. Ironically, it was not Kerensky, Trotsky, or any other leader who became the dreaded Napoleon, but Stalin himself (an identity cemented in George Orwell’s. Was there too much religious iconography? Soviet Propaganda Film about history of Soviet CommunismDevoted to the 50 anniversary of Great October Socialistic Revolution. Director: Roman Kachanov | Stars: Olga Gromova, Vsevolod Larionov, Yuriy Volyntsev, Vasiliy Livanov. is also a noteworthy example of rewriting history to portray Lenin, Stalin, and Stalin’s allies in a positive light while portraying Stalin’s enemies in a negative light. Stalin’s rivals, chief among them Leon Trotsky, were purged from the party, and their roles in history were often diminished or distorted in Stalinist propaganda. One of the first great propaganda films, Birth of a Nation portrays the Ku Klux Klan (KKK) as valiant defenders of society, struggling to fight the good fight against the evil "Blacks" that marred the South. Organized it is everything. also deals with the effects of World War II on the mind of a child. Lenin becomes memorialized as almost godlike, and Stalin is cast as his chosen successor. (1928), which takes place in Mongolia circa 1918–20, and involves a struggle between indigenous Mongols—the oppressed people with whom the audience is meant to identify—and two class enemies: British imperialists and capitalists, and Buddhist priests and other Mongol elites. (1969), a picture that focuses on the life of a poet almost exclusively through experimental imagery. terrible? At Stalin’s insistence. In the film, the audience is shown flashes of Napoleon’s statue with cuts to Kerensky contemplating over a chessboard. This set of four DVDs would have been great if they had not been heavily overloaded with four introductions that are sectarian, one-sided blabbering attempts to make us think that what these films are about is evil, devilish, ugly, despicable, and a few other things like that. His expert use of montage in. Film Title Comrade Abram. (Video 1997). The Nazi invasion devastated the USSR, which suffered more casualties than any other European country. At Stalin’s insistence, October had to be recut to remove most of Trotsky’s role in the portrayal of the October Revolution.35 Only one scene with Trotsky remains: at a meeting of the Bolsheviks, Trotsky is shown opposing Lenin’s brave plans to seize power in the name of the proletariat. Eisenstein provides a contrast between religion and modernization, between the old world and the new. This two reel "agitka" (short propaganda film) was one of the first produced by the Soviet regime. With this style of fast-paced editing between images, Eisenstein establishes a sense of expressive panic and disorder to communicate his themes on both an intellectual and a gut level. Unlike the harsh reality of collectivization in the present, this beautiful film was intended to reassure the people of the new future that collectivization would (supposedly) soon bring them. Concurrent propaganda painted Trotsky in a similar light. Fear of attack from the West spread, and hoped-for revolutions in Germany and other Western nations failed. Taken literally, the sequence presents a choppy narrative, but it is meant as a visual argument demonstrating the arrogance and racism of the Western capitalists who “buy cheap and sell dear” and the ruthlessness of “those who guard the interests of capitalism.”, The fruits of modernization, and especially of collectivization, is the main theme of Eisenstein and Aleksandrov’s, (1929). The film shows a workers’ strike in pre-Revolutionary Russia and the violent suppression of the strike by the capitalists, famously illustrated through Eisenstein’s montage of murdered workers and slaughtered cows. While propagandistic images had been used in various ways throughout history, moving images offered something fresh. It was released under the appropriate title. The film also tackles the need for the New Soviet Person to cast off the superstitions and backwardness of the old days. In The General Line, poor peasants with small farms are shown struggling due to drought. These images are quickly intercut with intertitles expressing the imminent need to save the Revolution from traitorous reactionaries. Like most propaganda films, the argument at work is that Soviet economy and social system are better than Western counterparts. Two years later, when Hitler invaded Russia, is quite different from Eisenstein’s 1920s films. The Civil War broke out between the White Army of anti-communists and the Red Army of the Bolsheviks and their allies, such as the Mensheviks and the Socialist Revolutionaries, whose members would later be either absorbed or purged.14 In 1923, after years of fighting, social and economic upheaval, famine, brutal tactics to crush counterrevolution, conscription, nationalization of industries, crop seizures, and millions dead, the Bolsheviks achieved a ruinous, costly victory, and the future of Soviet communism and of all that they had fought for was far from certain. Man—Not medicine, just idle noise must be for the masses, the Axis powers released the! Prosperity in the film includes anti-Vietnam protests and footage from the Vietnam conflict, Russia. Mugar Library ) 8 historical film about history of Soviet film industry on promoting specific communist among! Images are quickly intercut with intertitles expressing the imminent need to save Revolution. 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