a question abt BRECHT (tracer hand to thread among others)

The Brecht songbook is also slept on: https://www.youtube.com/watch?v=-d2-EBkfBBU

lots of good posts itt, thanks all

I think where I've seen non hero deployed best was in Potemkin? Its been a few years since I watched it but it felt like a process (revolution) was being detailed where things happen to individuals but also groups.

One example I forgot to mention is Rene Clement's Battle Of The Rails, filmed a few years after occupation, about the railway's involvement in the resistance. Shot mostly with non-actors who were there, I don't think you even catch anyone's name, it is entirely about the Railways as a collective.

Thing is though both with that and Potemkin words like "distance" and "alienation" feel wildly out of place - these are highly emotionally charged works that carry you along with them and could not I think be accused of making viewers think too much...you are fully invested in the protagonist, it's just the protagonist is the Working Class and The French Resistance, respectively.

Eisenstein is pre-Brechtian or at the very least an early contemporary, and his theory aiui is based more on the affective emotional power of montage, that quick cuts could produce a pseudo-Pavlovian response in audiences. But he studied theater under Mayakovsky and there’s a common lineage between Brecht, Mayakovsky, Eisenstein, Tretiakov and Russian formalism. Brecht is similarly attracted to the fragment but he deploys it in a totally different way and for a totally different purpose than Eisenstein.

That difference is also why Eisensteinian film grammar was so easily appropriated by Hollywood - most obviously in the Untouchables by De Palma - whereas Brechtian gestures remain mostly arthouse or European.

really good revive