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82 THEFACEOFMAN
'typing' of class faces and facial expressions. Not stereotyped figures such as the 'over-refined degenerate aristocrat' contrasted with the 'coarse, powerful labourer'. We know that these were rough generalizations and the close-up tore off these primitive masks. Behind the external, conventional characteristics, the close-up revealed the hidden, impersonal class traits in individual faces. These class characteristics are often more obvious than national or racial characteristics and the face of a French miner, for instance, is more like the face of a German or English miner, than like the face of a French aristocrat. The mixtures of national, racial and class characteristics show many interesting combinations and variations, but they all show human beings, human types.
It is not by accident that the discovery and presentation of a rich gallery of class physiognomies fell to the lot of Soviet cinematography. Eyes sharpened by the revolutionary class struggle saw more than just the difference between 'rich' and 'poor'. No theoretical type-analysis could show social stratifications more completely than the 'typing' of certain Soviet films. Who does not remember Eisenstein's October? In it not only the faces of workers and of aristocrats are juxtaposed in open conflict with each other. The bourgeois liberals and the moderate Socialist intellectuals also wear their distinctive mark on their foreheads, and when the sailor bars their way on the bridge, face faces face, and two different conceptions of the world clash in two different, unmistakable physiognomies.
A classic example of this is the magnificent scene in Dovzhenko's civil war film Arsenal. The scene shows the lull before the storm, the storm being the rising in Kiev. The title says 'Waiting for the First Shot'. The city is waiting in the night, motionless, with bated breath. No one is asleep. Everyone is waiting. For the first shot.
Who is waiting? How are they waiting? Now in a series of brief scenes the film shows a cross-section of the social body of a whole city. The workman harks out. The soldier watches. The artisan listens. The merchant strains his ears. The factoryowner is on the alert. The teacher, the clerk, the landowner, the artist, the declassed down-and-out, the Bohemian — they are all looking expectantly into the darkness. How do we