Stachka (Strike)

Eisenstein, Sergei

doi:10.5040/9781838710620.0087

Cited by 2 publications

(6 citation statements)

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“…12 Eisenstein's first film, Strike (1925), serves as an example of Bolshevik recruitment techniques in that it is set at a factory complex where the workers are portrayed as the heroes. 13 Following Strike, Eisenstein directed Battleship Potemkin (1925), which focused on sailors rebelling against inhumane treatment from their captains. 14 Film theorists hailed Potemkin as an artistic feat.…”

Section: Eisenstein's Films From 1925-1928mentioning

confidence: 99%

“…Strike opens with a still shot of smokestacks billowing smoke. 21 The productivity of the workers is constant, and the domination of the industrial landscape against the skyline reflects the advancements of mankind. The smokestacks set an appropriate theme for the workers attempting to advance towards a utopian future of their own making.…”

Section: Motifs and Characterizationmentioning

confidence: 99%

“…A secondary establishing shot is the turning of enormous gears, with the silhouettes of workers imposed on the gears as if they are caught in an unceasing cycle of productivity. 22 During Strike, the smokestacks and the wheel stop.…”

Section: Motifs and Characterizationmentioning

confidence: 99%

“…One manager squeezes a lemon squeezer, metaphorically denoting his power to put pressure on the Strikers until they give in. 25 The spies are introduced by overlapping shots of the animals bearing each of their code names. The Monkey jumps about, while the Owl blinks slowly as his face is overlaid with the face of the animal.…”

Section: Motifs and Characterizationmentioning

confidence: 99%

“…The children mimic their parents by putting goats in wheelbarrows, imitating how the managers were pushed into the pond. 27 Where earlier the pet shop analogy denoted the subservience and otherness of the spies, this naturally-occurring animal life serves other metaphorical purposes. Baby animals, including ducka photograph of the director Sergei eiSenStein (courteSy of Flickr) lings, kittens, pigs, and geese are all representative of the revolutionary hope for renewal of life.…”

Section: Motifs and Characterizationmentioning

confidence: 99%

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Visual Metaphors for the People: Unpacking Sergei Eisenstein’s Pedagogy of the Russian Revolution Through Film

Brown

2018

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This paper attempts to understand how the celebrated and controversial figure of Sergei Eisenstein understood and contributed to the formation of the Soviet Union through his films of the 1920s. The lens of visual metaphors offer a specific insight into how artistic choices of the director were informed by his own pedagogy for the Russian Revolution. The paper asks the questions: Did Eisenstein's films reflect the official party rhetoric? How did they inform or motivate the public toward the communist ideology of the early Soviet Union? The primary sources used in this paper are from the films Strike (1925), Battleship Potemkin (1926), October (1928), and The General Line (1929). Eisenstein created visual metaphors through the juxtaposition of images in his films which alluded to higher concepts. A shot of a worker followed by the shot of gears turning created the concept of industry in the minds of the audience. Through visual metaphors, it is possible to understand the motives of Eisenstein and the Communist party. It is also possible, with the aid of secondary sources, to see how those motives differed.

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Section: Eisenstein's Films From 1925-1928mentioning

confidence: 99%

Section: Motifs and Characterizationmentioning

confidence: 99%

Section: Motifs and Characterizationmentioning

confidence: 99%

Section: Motifs and Characterizationmentioning

confidence: 99%

Section: Motifs and Characterizationmentioning

confidence: 99%

See 3 more Smart Citations

Visual Metaphors for the People: Unpacking Sergei Eisenstein’s Pedagogy of the Russian Revolution Through Film

Brown

2018

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The ‘Totoro Meme’ and the politics of transfandom pleasure

Morimoto

2018

East Asian Journal of Popular Culture

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This article is an exploration of the 'Totoro meme' as a site of affective, transfandom pleasure. In the Totoro meme, Japanese and non-Japanese fans alike appropriate the now-iconic image of Satsuki, Mei and an umbrella-toting Totoro at a bus stop from Hayao Miyazaki's 1988 film, Tonari no Totoro (My Neighbor Totoro), to their own fannish ends, creating fan art that inserts favourite characters from other media into the scene in ways that often have a doubled semiotic resonance. I argue that this meme is characteristic not of the global appropriation of a broad 'Japanese anime style', per se, but a specific, affectively appealing 'Ghibli style', one that is fully part of non-Japanese fans' own popular cultural repertoires. In its cross-border merging of globally circulating Studio Ghibli aesthetics with other fan-favourite media, I contend that the Totoro meme and its associated fanworks are in fact wholly congruent with, and representative of, what Matt Hills has termed 'trans-fandom' (2015), contemporary practices of 'navigating across and combining and fusing fandoms' (Hills 2015: 159). I conclude with a consideration of the implications of what might be termed 'corporate transfandom' in the context of transfannish citations of Kaze no tani no Naushika (Nausicaä of the Valley of the Wind) (Miyazaki, 1984) in Star Wars: The Force Awakens (Abrams, 2015). KEYWORDSMy Neighbor Totoro, intertextuality, transfandom, transcultural fandom, memes, fan art, fanproducer relationsThe setting is a rainy night-time bus stop somewhere deep in the Japanese countryside. Three figures stand in the shadow of a rusty sign, one carried on the back of another and one silent and massive next to the other two. In Tonari no Totoro (My Neighbor Totoro) (Miyazaki, 1988), these three are young Mei, her older sister Satsuki and Totoro himself, looming over the pair with a leaf on his head to (ineffectively) protect him from the rain. Originally featured on Japanese promotional materials for the film, within online fan circles this scene has attained singular resonance through memetic fan art that substitutes characters from other, unrelated media for those of Satsuki and Totoro (Mei is optional). This 'Totoro meme' is believed to have begun with a 2007 work by Oceanic artist sachsen, depicting a rifle-toting Satsuki standing next to a horrifically bloodied, gaping-mawed Totoro (CSloth 2014). It is difficult to say with any certainty what specifically it was about this image that caused it to resonate with people around the world and from many walks of fandom (although the jarring juxtaposition of the film's pastel nostalgia and its own grotesqueness certainly lingers), but its iconicity is

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Stachka (Strike)

Cited by 2 publications

References 0 publications

Visual Metaphors for the People: Unpacking Sergei Eisenstein’s Pedagogy of the Russian Revolution Through Film

Visual Metaphors for the People: Unpacking Sergei Eisenstein’s Pedagogy of the Russian Revolution Through Film

The ‘Totoro Meme’ and the politics of transfandom pleasure

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