Eisenstein's Use Of Editing In Battleship Potemkin

Eisenstein was interested in the conventional study of the materials and methods of film making of his day. This included the frugality of his era and the unification of symbolic messages to emphasize the point he was trying to get across to the audience. This caused the viewer to be conscious of their construction. Using his knowledge of montage, French for "Putting together", Eisenstein was able to build artificial unity out of the fragments of reality. This was the joining together of unrelated or dissimilar elements, that would then form a complex whole. The shots are the raw material of the cinema, allowing the specific cuts to generate intellectual and emotional responses. In Battleship Potemkin, discontinuity editing was used to arrange

Metaphorical cuts would associate two shots in order create a symbolic meaning. For example, the workers running from the soldiers and the cows being slaughtered metaphorically showed how they were treated like soulless animals. Using contrast cuts he pairs two shots that have opposite content as he did with the starving man begging for bread and the rich man eating a huge turkey on a silver platter. This calls the viewers attention to the drastically different scenes, thus creating an emotional and ethical response. Editing with parallel cuts allowed for two different actions to be shown as if they were happening at the same time. In addition, the same affect was accomplished by Eisenstein using simple rhythm, tempo, or tonal variations and matching or mismatching forms for a visual analogy. Eisenstein brought together two completely different shots that would then show their thematic correlation. The first shot will hold the main idea, with the second its opposite, the reverse of the original idea. From this opposition, discontinuity and collision as well as conflict or contrast could be

Petersburg's Hermitage Museum this continuous shot was done in "real time ". The data was fed directly into a computer hard drive that they carried along with the camera. They accomplished this feat in four takes. The amount of tries was based on the number of experimental, unerasable drives they had in their possession. The fourth take became the movie. This whole focus gave the effect of being present in the moment. The entire movie is a point of view shot. The purpose of this is to view this event through the narrator’s eyes. We experienced a floating view of his world as well as his dreams and visions. This gives us an unbroken flow of perception, moving as the narrator does from one time to another without cuts. (Mast, 2006) This is a true look at Russian history through the eyes of the narrator one artistic period at a time. History, art, society, and the observer are linked in an unbroken flow of perception, moving as the narrator does from one time to another. (Mast, 2006) The lighting was accomplished with candles and daylight since there was no time to set up, hide, and break down lights. In contrast to Eisenstein's Battleship Potemkin, which is a pro government film, with the sole intention of validating the new Soviet government of the time, Sokurov's Russian Ark, is anti government and points to the atrocities visited on the Russian people over a three century period. The