The Directorial Intervention

Learn to express existence from the "core of the real", highlighting all those characteristics that can serve as an argument for a different approach of the researched subject.

"The Strike" would be a link of a chain, one of the movies from the series "Towards Dictatorship". The series was to comprise eight films, starting with the theme of introducing illegal literature over the border and up to that of deportations and then of escapes. The strike was to be the theme of the fifth film.

Though it began with the making of this series, at Sergei Eisenstein’s proposal, because it was the most out of all for the masses and the most fruitful. From the outset, the three characteristics of the future film were decided: to present the generalized image of a strike and not a specific historic strike. TO not have individual heroes, but rather to contain the confrontation of the collective of workers with the group of capitalists and their servants. To be a film composed after the method of the montage of attractions. *

Can you present to the world the finished work of a particular reality through a painting that extends beyond the frame of analysis and evaluation of the expressive content of the character you play out in a unique way?

The director, the creative man, well knowing the extremely favorable conditions for the development of culture and art, especially focuses on certain aspects of real life that are sometimes related to the hidden part of the world, or of its representative part. But before displaying his achievements in a new way of making a film, for the world to know him and appreciate his depth and gift on making any image a memorable one, he stops and looks behind on what he accomplished.

The finished work of a particular reality is in fact an act of conscious preservation of the memory of a past event that the director experiences as a living reflection that characterizes his knowledge, thus taking over the role of the narrator-hero of his story. Adequate dosing of the content of ideas to the expressiveness of the image makes the character it uniquely renders acquire the meaning of a long-awaited fulfillment: to be himself a decision-maker in a world where the limit is only given by imagination.

What does existence from "the core of the real" actually express that he integrally played in his montage? Slowly, with a real reforming desire, he checks if he truly understood the real message and if he highlighted in consequence all those visions, special things, motives, characteristics, that can serve as an argument for a different approach of the researched theme. Is an eventual review and update of the respective argument necessary?

What justifies the decision, the claim to the right of intervention in the case of making the film, are the living descriptions the director inserts and condenses periodically in the script, and later in the montage. They are used to define the compositional trajectory in what concerns the credibility he gives to the sources of information on which the value of what he tried to highlight is founded upon.

The expressive content of the character that the director uniquely portrays defines the trajectory of an event experienced as a personal experience that must be shared and oriented in the direction of a new artistic philosophy, the one that produces long lasting effects in the consciousness of the world he imagines as being his.

The Directorial Intervention is exercised only at the level of identifying meanings yet unsaid or unfinished scenically, extracted from the support of additional information collected during all the steps of completing the work – offering a certain image over the relationship between time, facts, world, place and the surrounding reality.

Leadership is an effect of a context of reception. To present the image of a world by means of a painting that extends beyond the frame of analysis, actually means to put back the information you have in a context with modified priority in which people can find a familiarity and a feeling of belonging to a space they’ve mastered and from which they seem to have always been a part of.

* Note: Ion Barna - Eisenstein, Youth Publishing House, 1966.