The Battleship Potemkin Hinchingbrooke战舰波将金号布鲁克.pptVIP

Sergei Eisenstein The Battleship Potemkin In the early 1920s, Lenin decided to permit increased freedom in the arts, and the Soviet cinema opened up and began to explore new possibilities. Thereafter, through the final years of the silent era the USSR became one of the most important and influential filmmaking nations in the world. Eisenstein argued that the maximum effect could be gained only if the shots did not fit together smoothly, but instead jolted the spectator. = intellectual montage Soviet Montage used the power of editing to manipulate the emotions of the spectator and rather than narrative structure or character development they stressed social forces as the root causes of change in peoples lives. The Odessa steps massacre was filmed as a single event to symbolize the hopes, triumphs, sufferings, and ultimate failure of the (1905) revolution. Long shots convey confusion and alarm, intercut with eyes of terror, lips in silent scream, feet stumbling, a bouquet crushed, a broken umbrella, and a woman losing her baby carriage. Eisenstein refers to 5 kinds of montage: metric, rhythmic, tonal, overtonal, intellectual. Metric montage: editing tempo increased as massacre intensified. Rhythmic montage: military order of the steady marching soldiers is in dramatic contrast to the disorder of the fleeing crowd. Tonal montage: conflicting intersecting planes and masses and shadows of soldiers rifles and uniforms intersect the light reflecting off fleeing citizens. Overtonal Montage - this takes the previous three elements to produce the overall effect or emotional pull. How the viewer feels after watching the film. However, Eisenstein is vague about what overtonal montage is. Intellectual montage: end sequence of battleship firing 3 times; 3 images of marble lions - the first sleeping, the second waking, the third rising - appear as a single beast, aroused as the Russian masses will be ten years later against tsarist oppression. So, Soviet film is a