Alexe Poukine (1892-1953) was a Russian filmmaker, critic, and theorist who is best known for his influential films of the 1920s and 1930s, which helped to define the Soviet montage school of filmmaking.
Poukine was born in St. Petersburg, Russia in 1892. He was the son of a middle-class family and attended the prestigious St. Petersburg Institute of Art and Architecture. After graduating, he worked as a journalist and a critic, writing articles on film for various newspapers and magazines.
In 1918, Poukine joined the October Film Studio, a revolutionary film studio in Moscow. Here he began his film career, working on some of the most influential films of the Soviet montage school of filmmaking. He wrote and directed the films Strike (1924) and The Man with a Movie Camera (1929), both of which are considered masterpieces. Strike was a groundbreaking film that employed editing techniques that had never been seen before, while The Man with a Movie Camera was an experimental documentary that used avant-garde techniques to capture the everyday life of the Soviet people.
Poukine’s films were known for their innovative editing techniques and bold experimentation with sound and visuals. He was a proponent of montage – the editing technique of juxtaposing shots to create a new meaning, which had become popular in the Soviet Union during the 1920s and 1930s. He wrote extensively on the subject of editing and montage, and his theories had a profound influence on the filmmakers of the time.
Poukine’s work was also known for its political themes. He was an outspoken critic of capitalist and fascist ideology, and his films often contained subtle criticisms of the Soviet government. He was also an advocate for the rights of the working class, and his films often depicted the struggles of the proletariat.
Throughout his career, Poukine wrote and directed many other films, including The Winter’s Tale (1930), The Great Parade (1935), and The Return of Vasili Bortnikov (1939). He also wrote several books on the history of film, and was instrumental in the establishment of the Vyborg Film Institute in Moscow.
Poukine died in 1953, but his legacy lives on through his films and writings. His innovative editing techniques and bold experimentation with sound and visuals had a profound influence on the Soviet montage school of filmmaking, and his films remain some of the most influential works of