Cover image for Strike Stachka
Title:
Strike Stachka
Publication Information:
New York, NY : Kino Classics : Distributed by Kino Lorber, Inc., [2011]
Physical Description:
1 videodisc (89 min.) : sound, black and white ; 4 3/4 in.
System Details:
DVD; NTSC; stereo 2.0; full frame.
Language:
No linguistic content
Language Note:
Silent film with intertitles in English; some signage in film in Russian, with English translation.
Added Title:
Title from container: Sergei Eisenstein's Strike
General Note:
"Restored by the Cinémathèque de Toulouse"--Cover.

"'Toward dictatorship'", a series of films on the workers' movement in Russia. First volume: Strike, in 6 parts." --Frame after title frame.

Originally produced as a motion picture in 1925.

Special features: Dnevnik Glumova = Glumov's diary: Sergei Eisenstein's first film, a short made to be used in his stage production of Alexander Ostrovsky's "Enough stupidity in every wise man" (1923; 4 min.); "Eisentein and the revolutionary spirit": film historian Natacha Laurent discusses Eisenstein's work in the context of the Communist Revolution and contemporary Soviet filmmaking (2008; 37 min.).
Abstract:
Triggered by the suicide of a worker unjustly accused of theft, a strike is called by the laborers of a Moscow factory. The managers, owner, and Czarist government dispatch infiltrators in an attempt to break the workers' unity. Unsuccessful, they hire the police and, in the film's most harrowing and powerful sequences, the unarmed strikers are slaughtered in a brutal confrontation.
Added Title:
Dnevnik Glumova.

Glumov's diary.
Holds:

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DVD PN1997.S7755 2011 1
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Summary

Summary

The first full-length feature project of pantheon Russian filmmaker Sergei Eisenstein, Strike is a government-commissioned celebration of the unrealized 1905 Bolshevik revolution. The story is set in motion by a series of outrages and humiliations perpetrated on the workers of a metalworks plant. The Czarist regime is unsympathetic to the workers, characteristically helping the plant owners to subjugate the hapless victims. Finally, the workers revolt, staging an all-out strike. Here is where Eisenstein's theory of "the montage of shocks" was given its first major workout. While the notion of juxtaposing short, separate images to heighten tension and excitement was not new, Eisenstein was the first to fully understand the value of using sudden-shock images (a bloody face, a fired weapon, a descending club) to make his dramatic and sociological points. Playing to mixed reviews and small audiences in Russia, Strike proved a success worldwide, assuring Eisenstein complete creative freedom on his next project, the immortal Potemkin. ~ Hal Erickson, Rovi