lz线路
情节框架
Due to some common interests between German and Russian aristocracy ( the Russians even had aristocrats in their past not to mention they had an Empress called Catherine the Great, as great as this German count's heiresses… ), it is not strange that this Teutonic count has understood and even enjoyed Herr S. M. Eisenstein's "Staroye I Novoye".
It is not very usual that for the aristocracy to enjoy Bolshevist films full of proletarian demands that put private property at risk or as it happens in this case, a film about the Communist Party's policy on the subject of the collectivization of the Soviet agriculture. Normally this would be perfect gibberish for this German count, but thanks to Herr Eisenstein 's greatness and directorial talent, the hardships of the heroine of the film, Dame Marfa ( Dame Marfa Lapkina ) breached even the thick aristocratic Schloss walls.
And that's one of the first remarkable aspects of this oeuvre in spite of the political subject of the film, the powerful images and lyricism ( astonishing and beautiful shot compositions ), especially during the first part of the movie, preserve the artistic merits entirely while serving a propaganda purpose. The second remarkable aspect of the film is the dichotomy between the old and new, the fight to improve the lot of Dame Marfa and her countrymen. There are many discussions because it is not easy even in Russia to change ancient and conservative customs. There are superb metaphors and social criticism ( illiteracy, bureaucracy, religiosity ) which perfectly fit the film, and last but not least, "Staroye I Novoye", is a kind of archaic documentary about ancient customs established deeply in old Russia, those ones that our heroine must fight against. And there is also a lot about agriculture ( very enlightening for this German count), especially about harvesting and how to fatten Russian cows or pigs ( literally, no pun here… ).
Herr Eisenstein had to bear during the last era of his film career, unbelievable censorship and mutilation of his work, as happens with "Staroye I Novoye". The film was reedited and Eisenstein accused of sympathizing with Trostky's policies but fortunately the film was restored and showed by the German-frenchified t.v. channel "ARTE", natürlich!, including an evocative music score by Herr Taras Bujewski, that fits superbly Herr Eisenstein primal artistic interests.
And now, if you'll allow me, I must temporarily take my leave because this German Count must buy a tractor for one of his Teutonic heiress.
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观众心声
理解垂直蒙太奇（如果可以理解的话），割草段落是真美啊，风吹草低见牛羊
大神写申论的时候炫技be like：
就现在审美接受来看会有些许的不适，但掩盖不了爱森斯坦的伟大之处啊！可以把蒙太奇当作意识形态宣扬的武器的第一人，节拍蒙太奇、节奏蒙太奇、调性蒙太奇和泛音蒙太奇的综合之作。一切的元素都在创造激情，一切的感觉终将为政治服务。他做到了自己在《电影的第四维》中所提到的，把革命置于整个文明史中，形成科学、艺术与战斗阶级性的综合体。
苏联农业集体化宣传片，少了些激烈对抗，多了些田园诗意，用一个农村劳动妇女做主角串联全片。如果爱森斯坦拍出的本片符合当时社会真实的话，那只能证明苏联在农业改造领域存在严重的指导思想问题。 电影开篇指出农民贫穷的原因是兄弟分家导致分散经营，农民有土地但缺少农具和牲畜，只能依靠人力耕种，实际上要解决的是效率问题，而不是吃不上饭，不涉及阶级剥削问题。而政府在农村并没有基层组织，在城市的官僚机构缺乏同情心。 苏联农村需要的是机械现代化改造生产力，而盲目地追求集体化形式只会适得其反，阻碍农民的生产积极性。
圣光牛牛爱情故事（黑牛看着遍地开放的油菜花想起了他年轻时与花斑牛妻子相遇的故事），旋转猪猪芭蕾舞演员，为了公社，за коммуну，智斗官僚，Я сам себе машинки，我就是一台机器，求雨装神弄鬼没用，上机器大家伙都信服。
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