3.2) Explore how your film option might be considered as either a realist or an expressionist kind of cinema. Make reference to a particular sequence in your answer. [20]

‘Strike’ is directed by Eisenstein, a Soviet film director, who is typically associated with expressionist cinema rather than realist, contrasting to someone like Bazin who focused on realist cinema. The main example of expressionistic film making in ‘Strike’ is the use of editing. Such as, the use of the Kuleshov effect. During the opening of the movie, Eisenstein utilises the Kuleshov effects and cross fades when cutting between the factory boss man and the workers at the factory. This is a way of relating the two together, and the audience being told how the boss feels about the factories workers, especially when paired with the exaggerated performances. Getting across the boss’ opinion on the factory workers is important, as the film Communist propaganda, and focused on the mistreatment of the workers and how everyone working together in unity to revolt is how they shall succeed, as shown by the opening Lenin quote which directly addresses the audience. Later on, montage is used which is another example of ‘Strike’ being an example of expressionist cinema. Such as, the montage at the end of the movie of everyone running away, the police chasing them, people and the cow dying. This is an example of tonal montage as it makes you feel a certain way (scared and upset) but also an example of the collision principle, as the shot of the dead cow with the shot of the dead people produces it’s own meaning comparing the working class to animals. Although this scene is largely expressionistic, there is a moment of realist cinema when the camera lingers of the dead child for effect. This leans into realist cinema as an element of the was long duration shots.

The film was also expressionistic in terms of cinematography, and sometimes mise en scene. For example, during the opening, there is a set which is an example of expressionist cinema. This is when the workers are all rushing through the hallway and was probably created to connote this sense of chaos, as so many workers all rush through a small hallway. The opening also includes an impressive overhead tracking shot of the factory, which is a formalist technique. Moreover, there is also use of back lighting and silhouetting, which is a very expressionistic technique and use of cinematography and may connote a sense of secretiveness. The middle sequence when the rich men are sat at the table also has expressionistic uses of cinematography. Such as, the lighting that follows the helper on the stairs. This could be to emphasise how he is a working-class citizen like the factory workers, yet isn’t on their side, linking back to the Lenin quote and how everyone needs to work together to succeed. These formalist cinematography elements to some extent break the verisimilitude of the film, as they are moments that are clearly cinema and constructed rather than real life, such as the silhouetting during the opening. The exaggerated performances, used as visual representation of sound, are also examples of the breaking of the verisimilitude, as they aren’t realistic moments. Therefore, this is another example of the film being expressionistic.