Stachka: um ensaio sobre os antagonismos

Author(s)

Peterson Soares Pessoa

• Document type: Master's Dissertation
• Press: São Paulo.
• Institution: Universidade de São Paulo (USP). Escola de Comunicações e Artes (ECA/SBD)
• Defense date: 2009-12-18

Examining board members

Luiz Renato Martins; Jose Antonio Pasta Junior; Ismail Norberto Xavier

• Advisor: Luiz Renato Martins

Abstract

The present work analyzes how the concept of social command is presented in the work of Soviet filmmaker Sergei M. Eisenstein (1898-1946) in his first film Strike (Stachka, USSR, 1925) - within the sphere of his relationship with Russian Constructivism (Soviet artistic avant-garde, which lasted in the early years of the 1920s) and the Proletarian Culture (Proletkult) movement. The analysis starts with the approach proposed by the historian François Albera, who considers the social dimension of artistic practice as the foundation for constructivist artistic activity. For Albera, the notion of \"social command\" as defined by the writer and dramatist Sergei Tret\'iakov (1892-1937), is a key concept for understanding how constructivist artists understand their social mission. The research presented demonstrates that the theory of \"montage of attractions\", developed by Eisenstein, constitutes a mode of artistic construction which shapes the emotions of the spectator in both theater as well as cinema. This form of artistic practice, articulated by the concept of \"social command\", is linked to a new level of class struggle as produced by the implementation of the New Economic Policy (NEP). (AU)