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July 26th, 2014: We completed the Swanlights series at Teatro Real in Madrid, the final installation of this piece. Thank you to all the artists and symphonies around the world that have helped to develop this piece and give it such a joyful life.
If he was inept with individuals, Eisenstein exhibited an epic mastery of crowds and crowd movement that has perhaps only been surpassed by David Lean and Akira Kurosawa (the German hordes going from a thin line to a looming presence over the horizon of ice in Nevsky reminds me of Lean). Nowhere have the masses seemed to more convincingly rise up than in the set pieces from Potemkin and October . Unlike the frequent depictions of mob violence that reflected the reactionary suspicion of the masses and mass movements that was rampant in the Hollywood of the 1920s and 1930s (see, for example, Fury [Fritz Lang, 1936]), the people are shown to be heroic, and shrewd judges of character (they mob the bourgeois racist that yells “Down with the Jews” in Potemkin ). If authority figures in the traditional regime are mere caricatures, the proles are noble and reliable, at times straining credulity just as far in the other direction.
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Film Matters >
Film Matters is North America's first-ever peer-reviewed film publication for undergraduates, on which undergraduates serve as the editorial committee.
Flow is an online journal of television and media studies. Flow’s mission is to provide a space where researchers, teachers, students, and the public can read about and discuss the changing landscape of contemporary media at the speed that media moves.
Framework: The Journal of Cinema and Media >
A peer-reviewed, international journal published bi-annually by Wayne State University.
Editors: Michelle Carey, Daniel Fairfax, Mark Freeman, Alexandra Heller-Nicholas
Editorial Assistant : David Heslin
Webmaster and Administrator : Rachel Brown