Below are links to two essays by Sergei Eisenstein on film form and revolutionary aesthetics. They offer an interesting set of considerations vis-a-vis Zamyatin's novel and especially vis-a-vis his essay on literature and revolution. The first is briefer and more readable than the second, although the second contains some interesting comments as well. Give yourself permission to skim and settle on a passage only if it resonates with something else you've been thinking about or with something else you've read.
"A Dialectic Approach to Film Form," Film Form: Essays in Film Theory, trans. Jay Leyda (New York: Harcourt, 1977), Google Books preview
"Notes for a Film of Capital,"trans. Maciej Sliwowski, Jay Leyda, and Annette Michelson, October 2 (Summer 1976), JSTOR
And here is the famous montage from Battleship Potempkin I mentioned in class the other day:
Finally, some shot sequences from Strike, the film we sampled today. The title credits and opening scenes:
And the final scenes (which include the graphic slaughtering of a bull, be warned):
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