The daily worker. [volume] (Chicago, Ill.) 1924-1958, 1934-01-29
Episodes in the Life
of Sergei Eisenstein

tivity Is merged In philosophical re-
search Of social phenomena as taught
by the founders OF dardsm.
But I do not stop there. And the
revolution, by means Of the works
Of those geniuses, enters my work ia
a totally different fashion.
My connection with the revolution
becomes a matter Of blo0d and bones
and inneTmost conviction,
IN my creative work this is marked
i by a transition from the ration
alistic but almost abstract eccentric
The Sage" "a circus spectacle made
over from Ostrovsky's comedy, "A
Good Deal Of Simplicity to Every
Sage'), through the propagandistic-
agttational theatrical poster play.
Hear Moscow and Gas Masks 70
the revolutionary screen WORK.
"Potemkin."
The tendency 10 closer contact
with the revolution calls for ever
deeper instining Of the basic priu-
cipies Of militant materialisln into
art.
The succeeding films, together Wit,
the social requirements carry on the
practical experimental work Of de-
Yeloping means" for creative film
expression, to convey a maximum Of
positive activization of REVOLUTIONARY
art and arm pedagogicaIly the gen
GRAFTON Of young BoIsheyiks who are
to take the place Of the cinema mas
tiers Of the first Five Year Plans Of
the revolution.
The center Of gravity Of the later
C'Ten Days, Old and New'') lies IN
the experimental and research fields.
Personal work Is intimately bound up
with planned scientific and peda-
gogic practice. CThe State Institute
of Cinematogrsphy.
Theoretical works are written on
the basic principles Of cinema art.
The philosophy Of life seems formed.
The revolution accepted. All activity
turned completely to It's interests.
THE question remains, 10 what ex-
L tent consciously and with unbend-
ing win.
AS this stage comes the trip to
other countries.
Foreign cotntriesths ultimate test
which ones biography can put TO
Soviet citizen grown inseparably with
ths growth Of October. The test Of a
fires choice.
Foreign countries ~ the ultimate
test for the masters Of culture" TIC
consciously verify with whom ana
against whom"
Foreign countries-the ultimate test
Tor the creative worker. Can he
create at all outside the revolution
and continue 10 exist outside it.
Before the gold mountains of
Hollywood the test arose and was
wttAsec0d with no heroic pose OF
renEncati0n from earthly charms
and goods but a modest organic
tmpoasfbDity o. the creative build
ing powers 10 work under other
social conditions and In the in
terUet Of another class.
And In this impossibrity to work
creatively beyond the class line OF
demarcation the full strength and
power Of tho revolutionary pressure
came out, the pressure Of the pro-
letarian revolution that sweeps from
its path like storm all that Is ininl-
teal to 1t and like even more power
full storm draws In and holds all those
that once chose to go In step with It.
That is how every one In the galaxy
Of Soviet workers In art act, and
think.
Many Of us that came 10 art by
revolution.
All Of US that call to revolution By
our art.
(''From international Tjteea>
tures No. 4, distributed In the U. s.
by International Publishers, ssi
FOurty Ave, New York;