Esfir Shub och kompilationsfilmen
en analys av montaget i Romanovdynastins fall
Esfir ShubRomanovdynastins fallKompilationsfilmSovjet1920-talFilmteoriMontageKulturpolitikDokumentärfilmStumfilm
This essay is a product of the author?s interest in silent films from Soviet, especially, documentary films. Before the 1920?s documentary filmmaking had mostly been limited to newsreels and short scenes. Only occasional feature-length documentaries had been made. During the 1920s, documentary film achieved new status, not only because of its use as propaganda; it was also identified as artistic cinema. Discussions how to use this genre were taking place all over Europe, and in the US. In France, many different journals on cinema were started. In Soviet the discussions later became politicised. It was a good climate for groundbreaking cinema, and Esfir Shub was one of the film pioneers in Soviet. The ambition with the essay is to give Esfir Shub theoretical approach to non-fiction film a greater acknowledgement. The thesis is how Esfir Shub combines titles and pictures with cutting in The Fall of the Romanov Dynasty (1927) and to theorise the film with Shub?s own conceptual ideas. The method is close reading of the film and the articles written by Shub. The conclusions made by the author, is that Shub uses titles and pictures, in a dynamic cross-cutting between the oppressor and the oppressed. She is faithful to her own theories. She is only using authentically material and not played scenes; otherwise she would distort historical facts. The montage is built in two different ways. Firstly Shub use an ironic tone in the titles when she introduces the oppressors from the old regime, and comment these images widely. Secondly she uses pictures of typical symbols of capitalism and does not need to comment in such matter as earlier, because the film material she had captured speaks for itself.