This week’s readings, Sergei Eisenstein’s “A Dialectic Approach to Film Form” and Andre Bazin’s “The Myth of Total Cinema” both attempt to define the meaning of cinema. The two perspectives present very different ideas about the origins and purpose of film.
In “A Dialectic Approach to Film Form”, Eisenstein argues that the essence of cinema is conflict. He writes about how all art (poetry, music, architecture, etc) expresses conflict, and in cinema this is created through montage. Eisenstein’s view is that rhythm, dynamism, and intellectual engagement arise not from perfect representation of reality on a screen, but from intentional juxtaposition. In the text he uses the example of how a shot of workers being killed crosscut with a bull’s slaughter in Strike is more powerful because it transforms, rather than simply replicates, reality.
Bazin, on the other hand, believes that cinema is driven by the impulse to perfectly replicate reality, what is referred to as “the myth of total cinema”. His opinion is that each new technological development brings us one step closer to achieving total realism. He writes, “In short, cinema has not yet been invented!”. He claims that the better the technical aspects get, the closer cinema gets to its origins: the dream of recreating the world in its own image, with sound, color, and relief. So, in Bazin’s view, cinema’s history (silent film, black and white film) is a gradual fulfillment of this myth.
When thinking about these theories in relation to a film I recently watched, Cruel Intentions (1999), I can see both perspectives at play. In line with Bazin’s notion of total realism, the movie leans heavily into aesthetics, attempting to completely immerse the viewer in the late-90s New York City prep school world. Lavish penthouses, Hamptons mansions, and the intricate webs of manipulation among characters create a convincing and recognizable social reality. The authenticity of the setting and behaviors allows viewers to feel as though they are peering into the ridiculous lives of the privileged elite.
At the same time, the film’s editing and symbols throughout heighten the audience’s emotional responses and ideological tension while watching, underscoring Eisenstein’s idea of conflict and montage as the core of cinema. A representation of this is Sebastian’s journal which has many purposes throughout the movie. It functions as narration, revealing his manipulative schemes while also charting his vulnerability toward Annette. The film intercuts his reflections with images of his changing relationships, creating a clash between self-interest and sincerity that ultimately transforms his character.
Overall, the movie embodies Bazin’s myth by immersing us in a believable social world, while simultaneously relying on Eisenstein’s principle of montage to provoke thought and sharpen the film’s critique of privilege, morality, and manipulation.
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