Odessa Steps Sequence” from Sergei Eisenstein’s Battleship.
Battleship Potemkin Directed By Sergei Eisenstein Film Studies Essay August 18, 2017 Prolific Essays “There is no art without conflict,” Sergei Eisenstein (1926) once wrote, and Battleship Potemkin (1925) is a typical illustration of a film that led to become a sign for revolution.
In perspective: Sergei Eisenstein, film director 1898-1948 - page 2. Early development of film art. Although Eisenstein is widely credited as the 'father of montage' - a form of editing technique - he wasn't strictly the first director to cut film in order to construct scenes.
The czar's troops shot innocent civilians elsewhere in Odessa, and Eisenstein, in concentrating those killings and finding the perfect setting for them, was doing his job as a director. It is ironic that he did it so well that today, the bloodshed on the Odessa Steps is often referred to as if it really happened.
Battleship Potemkin Directed By Sergei Eisenstein Film Studies Essay “There is no art without conflict,” Sergei Eisenstein (1926) once wrote, and Battleship Potemkin (1925) is a typical illustration of a film that led to become a sign for revolution.
The Strike by Sergei Eisenstein is a 1925 silent film depicting a variety of factory workers in pre-Soviet Russia carrying out a strike, and then being suppressed by governmental forces. Eisenstein uses an, at the time, novel editing technique which he entitled “the montage of attractions” in order to engage and manipulate his viewers attentions.
Less famously, in that same essay, Eisenstein distinguished between ten different types of dialectical conflict at the level of shot composition alone, many of which are utilised in the Odessa Steps sequence in Battleship Potemkin (1925).
Eisenstein advocated the Soviet theories of film montage, which claimed that film has its greatest impact when camera shots were combined to form a choppy yet meaningful collage. Whereas early film was a single continuos shot, montage seemed to have a greater, more dramatic effect on the audience.