The novelty of the movie "Strike" is both in theme novelty, but also in its form of expression. At the same time, and then often, an arbitrary separation is practiced between the content innovation and the form "Strike" represented.
It is often separately mentioned that this movie was the first bringing up to the screen the class struggle, and presented for the first time the people as hero of the event, on the one hand, and that "Strike" brought new solutions for cinematic expression, on the other hand. Even the controversy of that time, revolving around the movie and actually continued to this day, is based on this arbitrary segmentation of an organic unity between form and content.
In his intervention to the discussion, the great director Eisenstein signaled the anomaly and added, despite his critics, that in fact, "the form proved to be more revolutionary than the content". For Eisenstein, the new form was expression, materialization of a new concept, a new approach to phenomena, so a new ideology, while formal innovation was born from the novelty of content. Because, as he said, the locomotive was not created by revolutionizing carriage forms, but by a technical understanding of the new discovery, that of the manifestation form of the energy contained in the steam." *
The gradual passing from research problems outlined theoretically and solved practically, by implementing new concepts, to the reconstruction of a scientific work by choice and improving good ideas, makes the whole approach of assuming personal development efforts to shape a direction of professional achievement to be materialize in an imposing building.
Research is a tool with which one can "circulate" on the road of knowledge and art. It fulfils a specific task in the experience construction and organization, by excellence one of substance: release of constructive abilities from the limitations empire imposed by the conventional stylistic landmarks.
The question "When will you be able to realize what you can no longer realize?" is, actually, the result of observing a reality that has not yet been overcome, a continuation of attempts to articulate formulas impossible to realize, and to place under control the fundamentals of science. If you compromise the stability of the manifestation form of science by poor associations of fundamentals and new creative elements, then you will be able to realize only a modest update, which does not change the value of the final product.
Seeking to discover the treasures of science, but above all, to understand the complications and difficulties of integrating a new ideology into a cinematic expression, without changing the paradigm of cinema thinking or the way you perceive and interpret the answer to its questions, is a work of conception that requires creativity.
Maintaining the performance area, where science and art form a coherent, clear and unitary system, adjusting the value of thinking in the "advanced" direction through creative and innovative activities, complements the discovery fund necessary for supporting leadership. Always, the "dialogue" between research, practice and production of new scientific perspectives, applying theoretical results at the level of principles and archetypes, can become effective through form-content ratio.
While "content" maintains high quality science parameters by integrating innovation into leadership, "form" is an expression of the need for content consumption, which creates the convenient solution for a powerful statement: uniqueness. Or, as the great director Eisenstein said, the new form is expression, the materialization of a new concept, of a new way to approach phenomena, so a new ideology, while formal innovation is born from content novelty.
Science is manifested primarily as a production factor of discoveries. Rather than analyzing deeper something that you obviously could not properly analyze from the first time, you should better change your vision to shape science by introducing new forms of expression that highlight and amplify the essence of the content.
Do not forget that the locomotive was not created by revolutionizing carriage forms, but by a technical understanding of the new discovery, that of the manifestation form of the energy contained in the steam.
The organic unity between form and content designates that unity of thought and ways of action, based on generally accepted laws, but at the same time based on a novel interpretation of their content. The ascent on the scale of values and separating oneself from non-constructive diversity existing simultaneously requires a modern and special vision, like a unique and inimitable maneuver of approach.
* Note: Ion Barna - Eisenstein , Youth Publishing House, 1966.