Expressionism and Realism in Strike - Answer
Explore how Strike might be considered as either a realist or expressionist kind of
cinema. Refer to a particular sequence in your answer.
In Eisenstein’s ‘Strike’ (1925), the film significantly conforms to the influences of German
expressionist cinema techniques that were valued at the time; however, the film also
employs aspects of Realism as well as Expressionism. Expressionism is an artistic
movement that emerged in the early 20th century. It is characterised by its unconventional
camera angles, chiaroscuro lighting, and distorted, exaggerated sets. The use of these
techniques meant directors could create implicit ideologies throughout their films,’
constructing an “audience of co-creators,” according to Eisenstein. Whereas “realism is a
reflection of the world around us,” André Bazin states. The features of this style, include
unobtrusive camera work, natural lighting, and typage actors, and in general, films that
portray actualities. Through combining both these styles the film also effectively is used as a
propaganda tool for the Bolshevik government to promote their communist values to the
proletariats.
In terms of Expressionism, the spectators are immediately subject to numerous techniques
in the beginning. For example, the crossfades between the manager and the workers in the
factory. Editing techniques were a new device that came with Expressionism; the directors
wanted you to know that they could manipulate the film to communicate their ideology. The
crossfade between the two people could symbolise the distortion and power inequality
between the bourgeoisie and proletariats within a capitalist society. The distortion is also
present in the low-angle, mirrored shot of the factory in the puddle, which is also a stylistic
use of camera angles, compared to the static shots that were seen in realism films.
Furthermore, another example of Expressionism within the opening is the use of chiaroscuro
lighting; chiaroscuro lighting is the use of stark contrast between light and dark,
differentiating from the natural lighting used previously. In terms of Strike, the lighting is
constructed to work as visual symbolism. For example, when the lighting is harsh, the fade
between the circle and the medium close-up of the turning of the factory wheels represent
the running motif of the circle throughout the film, symbolising the never-ending cycle of
production and profit and the endless struggle of the worker’s oppression within capitalism;
work is seen positively in this text, the only problem is the binary opposites between the
bosses and the workers that the social structure creates. The exaggerated use of light and
shadow also contributes to the portrayal of a distorted reality (visually and metaphorically),
which is a hallmark of German Expressionism.
Moreover, expressionistic techniques are also present in the scene where the bosses are
together. For example, despite the shot being static, which is a characteristic of realism, the
angle and what the mise en scene denotes is primarily an expressionist technique. The
high-angle, long shot of the managers is used to reinforce the message that they are
antagonists as they are looking down at the workers. Additionally, the position of the chairs is
set out in the position of a cross, linking to religion. Communists held the view that ‘religion is
the sigh of the oppressed;’ if religion is oppressive, then so are the bosses. German
Expressionism and Soviet Montage films frequently conveyed political messages by
highlighting the societal issues and emotional states of the time. Furthermore, music plays a
crucial role in conveying emotional intensity and political messages, during the boss' scene
Explore how Strike might be considered as either a realist or expressionist kind of
cinema. Refer to a particular sequence in your answer.
In Eisenstein’s ‘Strike’ (1925), the film significantly conforms to the influences of German
expressionist cinema techniques that were valued at the time; however, the film also
employs aspects of Realism as well as Expressionism. Expressionism is an artistic
movement that emerged in the early 20th century. It is characterised by its unconventional
camera angles, chiaroscuro lighting, and distorted, exaggerated sets. The use of these
techniques meant directors could create implicit ideologies throughout their films,’
constructing an “audience of co-creators,” according to Eisenstein. Whereas “realism is a
reflection of the world around us,” André Bazin states. The features of this style, include
unobtrusive camera work, natural lighting, and typage actors, and in general, films that
portray actualities. Through combining both these styles the film also effectively is used as a
propaganda tool for the Bolshevik government to promote their communist values to the
proletariats.
In terms of Expressionism, the spectators are immediately subject to numerous techniques
in the beginning. For example, the crossfades between the manager and the workers in the
factory. Editing techniques were a new device that came with Expressionism; the directors
wanted you to know that they could manipulate the film to communicate their ideology. The
crossfade between the two people could symbolise the distortion and power inequality
between the bourgeoisie and proletariats within a capitalist society. The distortion is also
present in the low-angle, mirrored shot of the factory in the puddle, which is also a stylistic
use of camera angles, compared to the static shots that were seen in realism films.
Furthermore, another example of Expressionism within the opening is the use of chiaroscuro
lighting; chiaroscuro lighting is the use of stark contrast between light and dark,
differentiating from the natural lighting used previously. In terms of Strike, the lighting is
constructed to work as visual symbolism. For example, when the lighting is harsh, the fade
between the circle and the medium close-up of the turning of the factory wheels represent
the running motif of the circle throughout the film, symbolising the never-ending cycle of
production and profit and the endless struggle of the worker’s oppression within capitalism;
work is seen positively in this text, the only problem is the binary opposites between the
bosses and the workers that the social structure creates. The exaggerated use of light and
shadow also contributes to the portrayal of a distorted reality (visually and metaphorically),
which is a hallmark of German Expressionism.
Moreover, expressionistic techniques are also present in the scene where the bosses are
together. For example, despite the shot being static, which is a characteristic of realism, the
angle and what the mise en scene denotes is primarily an expressionist technique. The
high-angle, long shot of the managers is used to reinforce the message that they are
antagonists as they are looking down at the workers. Additionally, the position of the chairs is
set out in the position of a cross, linking to religion. Communists held the view that ‘religion is
the sigh of the oppressed;’ if religion is oppressive, then so are the bosses. German
Expressionism and Soviet Montage films frequently conveyed political messages by
highlighting the societal issues and emotional states of the time. Furthermore, music plays a
crucial role in conveying emotional intensity and political messages, during the boss' scene
