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Film Form: Essays in Film Theory Paperback – March 19, 1969

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Sergei Eisenstein (Author)
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Sergei Eisenstein (Author), Jay Leyda (Translator)
4.2 out of 5 stars 8 customer reviews
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Product Details

  • Series: Harvest Book
  • Paperback: 279 pages
  • Publisher: Harcourt; Edition Unstated edition (March 19, 1969)
  • Language: English
  • ISBN-10: 0156309203
  • ISBN-13: 978-0156309202
  • Product Dimensions: 5.3 x 0.8 x 8 inches
  • Shipping Weight: 10.4 ounces (View shipping rates and policies)
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Best Sellers Rank: #375,838 in Books (See Top 100 in Books)

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Customer Reviews

Top Customer Reviews

4.0 out of 5 starsFilm Form: Marxism, Montage and the Hegelian Dialectic
By A Customer on July 9, 2002
Format: Paperback
As many of the early film theorists, Eisenstein has a tendency to propose as universals the principles of a specific school. The Soviet school of montage, whose heyday was in the late 20s, finds its most brilliant auteur here expounding not only upon its philosophy of cinema, but on ways in which this philosophy is in fitting with Marxism, the Hegelian dialectic and science. As such, it is a brilliant manifesto, a seminal work of greater value than any of those by Kuleshov, Pudovkin, Vertov, Dovzhenko or other montagists.
Nonetheless, it is problematic in several ways, and an understanding of the nature of its idiosyncrasies is extremely valuable. First, in an effort to "prove" his hypotheses, Eisenstein often attempts to reconcile film and physics in ways that are inappropriate and pseudo-scientific. He presents himself, in that sense, as both Eisenstein and amateur Einstein. Further, case studies are often chosen from his own work, in effect limiting the reader's freedom to disagree with his conclusions. Finally, the manner in which he expresses his thoughts is beyond elliptical. At times, it appears that one would have had to have been living in Russia at the time that these essays were written and to have been thinking about the same issues that Eisenstein was to comprehend what he is getting at. [On the other hand, for those who have had the joy of reading Wittgenstein, for example, this should be a good book to take to the beach.]
As indicated above, these problems can be explained. Communists have always had a complex relationship with the Social Darwinists. On one hand, Marxism was born out of progressive, evolutionary thinking; on the other hand, Marxists dismiss the idea of "survival of the fittest" as primitive and untenable.Read more ›
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4.0 out of 5 starsTheories on Cinema
By Kuassivi Mensah on April 9, 2006
Format: Paperback
This is not a how to for wannabe movie directors, the essays revolve around the cinematic medium and its creation, and not so much on its content. Not unlike McLuhan, Eisenstein proposes to understand cinema as an extension of our senses ( hence, his following book, Film Sense ), and retraces the evolution from theather to cinema to sound cinema with a focus on Japanese influence ( Kabuki ) and a revolutionary ( for its time ) approach to montage. Cryptic at times, but a goldmine of insights into the nature of the silver screen.
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4.0 out of 5 starsAdvanced
By John Mervin on October 31, 2014
Format: Paperback Verified Purchase
This is an excelent book that go's into sergei's concept of what a movie is.
the only reason its not five stars is that its not really an easy read, its actually quite dificult to understand.
i would have to read a page 2 or 3 times until I understood what he was trying to communicate. often having a dictionary opened beside me. its quite advanced.

but nonetheless its still worth it if your willing to use your little gray cells.
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5.0 out of 5 starsFive Stars
By anne kontni on November 21, 2014
Format: Paperback Verified Purchase
excellent
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