With his dome-like forehead and shock of wild hair that looked like the aftermath of a bad experience with an exposed wire, it’s easy to mistake Sergei Eisenstein for a stereotypical mad scientist. Somehow, though, “film director” seems equally fitting–and “intellectual” goes without saying. And if you think about it, “scientist” isn’t too far off the mark either. His experiments weren’t with with tubes and liquids, of course, but scissors and strips of nitrate film–his exciting world of the editing room.
Forging new paths.
Much like the way his revolutionary films surprised audiences, reading about Eisenstein’s life can be an eye-opener. It’s easy to come away from the “The Father of Montage’s” dense prose and feel that he was more of a shadowy Historical Figure than a human being. But his serious, studious side was only one part of the complex montage that made up Sergei Eisenstein. Continue reading →
When the history of the dramatic early development of motion pictures is written, Lois Weber will occupy a unique position.
Thus spoke a journalist in a 1921 Motion Picture Magazine article. At the time, Weber was one of the most familiar and respected directors in the film industry–and the most prominent of the few female directors overall. Today, from our vantage point of nearly a century later, it may seem like that journalist’s prediction hasn’t quite come true. Weber certainly does have a unique place in cinema history, but that place has been largely overlooked for many decades.
However, thanks to new restorations of her work being shown at film festivals and a wealth of online resources for film scholarship, Weber’s slowly but surely being restored to her place in the early filmmakers’ pantheon–a place she had certainly earned, with the goal of nothing less than the moral uplift of mankind. Continue reading →