Battleship Potemkin at 100: how the Soviet film redrew the boundaries of cinema
Reading time: 5 minutes
Eisenstein’s growing international status did little to protect him at home. As the 1920s gave way to the 1930s, the tides of Stalinist cultural policy began to turn sharply against him. Eisenstein’s approach was profoundly out of step with the new aesthetic of Socialist Realism, which demanded clear narratives, heroic characters and unambiguous political messaging. Where his signature technique, montage, was dynamic and dialectical, Socialist Realism insisted on straightforward storytelling and easily digestible moral lessons. As a result, Eisenstein found himself accused of obscurity, excess and political unreliability.
