Publication: Antinomias de Eisenstein: uma biografía contra o poder e as imagens de Stálin (ser artista na URSS)
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2011
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T&B editores
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Abstract
Este estudo examina a trajetória de Eisenstein enquanto cineasta soviético a partir de suas antinomias e das vicissitudes das conjunturas históricas pelas quais passou, nas suas relações com o poder que Stálin, ao mesmo tempo representou e forjou. Procura-se demonstrar que Eisenstein é um artista revolucionário. Mesmo nos momentos mais críticos e difíceis, dos anos 1930 e 1940, ele buscou manter a coerência com uma ética da criação baseada na necessidade da independência do artista. Sua ética exige independência das diversas formas de ingerências dos poderes. Do mesmo modo sua estética busca permanentemente ser a expressão da relação dialética da unidade de contrários entre a forma e o conteúdo. Parte-se da distinção entre uma estética que procura educar sem, contudo manipular, o que diferencia a obra de Eisenstein daquelas da propaganda. Sua teorização sobre a arte que se concentra no cinema elabora múltiplas formas de montagem que na prática criativa de Eisenstein se expressou, ao mesmo tempo, de modo complementar e harmônico ou tenso e contraditório, mas jamais subordinando a forma ao conteúdo. Na verdade para Eisenstein forma e conteúdo são duas dimensões do único e mesmo processo criativo. Isto coloca sua criação naturalmente com uma imanência antípoda, ao mesmo tempo, ao realismo socialista e ao socialismo num só país. A fragilidade relativa da biografia de Eisenstein perante o terror do totalitarismo estalinista não impede seu triunfo e sua transcendência histórica em muitas questões teóricas e práticas. Nesse sentido suas imagens, como sua própria imagem, triunfam sobre aquelas de Stálin.
This essay examines the career of Eisenstein as a Soviet filmmaker through the antinomies and vicissitudes of the historical circumstances he went through, in his relations with the power of Stalin, which he both represented and forged. We intend to show that Eisenstein was a revolutionary artist. Even in the hardest and most critical moments, between the years 1930 and 1940, he sought to maintain the coherence with an ethic of creation based upon the need of independence of the artist. His ethics demand independence of the diverse forms of interference of the power. In the same manner, his aesthetics permanently seeks to be the expression of the dialectic relation of unity of contraries between shape and content. We are talking of a kind of aesthetics which seeks to educate, whereas not manipulating, which makes the distinction between Eisenstein´s work and propaganda. His theorization about art and cinema creates multiple ways of staging. In his creative practice, this was expressed simultaneously in a complementary and harmonic way or in a tense and contradictory one, without ever subordinating shape to content. Actually, for Eisenstein shape and content are two natural dimensions of an only and unique creative process. This sets his creation in an “spontaneous” opposition both to socialist realism and socialism in one country. The relative fragility of Eisenstein´s biography face to the horrors of Stalinist totalitarianism does not prevent his success and historical transcendence in many theoretical and practical matters. In this sense, his images, as much as his own image, triumph over those of Stalin.
This essay examines the career of Eisenstein as a Soviet filmmaker through the antinomies and vicissitudes of the historical circumstances he went through, in his relations with the power of Stalin, which he both represented and forged. We intend to show that Eisenstein was a revolutionary artist. Even in the hardest and most critical moments, between the years 1930 and 1940, he sought to maintain the coherence with an ethic of creation based upon the need of independence of the artist. His ethics demand independence of the diverse forms of interference of the power. In the same manner, his aesthetics permanently seeks to be the expression of the dialectic relation of unity of contraries between shape and content. We are talking of a kind of aesthetics which seeks to educate, whereas not manipulating, which makes the distinction between Eisenstein´s work and propaganda. His theorization about art and cinema creates multiple ways of staging. In his creative practice, this was expressed simultaneously in a complementary and harmonic way or in a tense and contradictory one, without ever subordinating shape to content. Actually, for Eisenstein shape and content are two natural dimensions of an only and unique creative process. This sets his creation in an “spontaneous” opposition both to socialist realism and socialism in one country. The relative fragility of Eisenstein´s biography face to the horrors of Stalinist totalitarianism does not prevent his success and historical transcendence in many theoretical and practical matters. In this sense, his images, as much as his own image, triumph over those of Stalin.
Description
Actas del Segundo Congreso Internacional de Historia y Cine organizado por el Instituto de Cultura y Tecnología Miguel de Unamuno y celebrado del 9 al 11 de septiembre de 2010 en la Universidad Carlos III de Madrid
Keywords
Cine, Eisenstein, Cinema, Política, Criação contra o poder, Totalitarismo estalinista, Politics, Creation against power, Stalinist totalitarianism
Bibliographic citation
La biografía fílmica: actas del Segundo Congreso Internacional de Historia y Cine (2, 2010, Madrid)[cd-rom]. Gloria Camarero (ed.). Madrid: T&B editores, 2011, pp. 99-123