Battleship Potemkin the Propaganda of the Montage
Battleship Potemkin is a Russian silent film made in 1925, directed by the great Soviets filmmaker Sergei Eisenstein. The story in this film is based on a true events during the revolution in The Unions Soviets. In 1905, protest of workers begin against the regime. A ship full of officers called Potemkin. Some officers have decide to punishment a few rebel workers, then the some officers refuse to do so, and they take over the ship. When they return to the city they found out that there was a thousand civilians been shot and killed by the regime, many others wounded. The film is considered one of the best classical film in history of cinema in the silent era. The scene were a baby in a carriage falling down the stairs is truly the beginning of many new montage theories in cinema.
As Dylan Hintz claims in his essay "Sergei Eisenstein's 1925 masterpiece of Soviet Montage, The Battleship Potemkin. This statement links clashing close up images of water crashing upon rocks- a natural violence of warlike proportions displayed to give the viewer a feeling of great chaos- to the entirety of the film in a message and theme of collision and amassed disturbance". In this film the montage, unlike Griffith films in the United States, we find that the cuts designed to deliver a message of the revolutionary propaganda. The montage is confusing to the eye but attractive to the mind. The most important is the way montage pieces were puts together. thats way this film is significant to the history of the cinema. Is this film about political propaganda, I don't think so. To the cinema, this film encourages the filmmakers around the world to use the montage to do they own propaganda.
It is a difficult to be make a film that has a lot of affect in the moviegoers during the silent period. The Russians directors such as Einstein among with others find away to be more able to exploit the story using the montage as highest artistic value to make remarkable films. We see the cinema in France such as Lumiere Brothers, George Melies never try to play with the montage. In the other side of the world we see also the American filmmakers such as Griffith and Edson, using the traditional classic ways of montage. Einstein with his vision, was able to create something different in the montage. The technique he makes in the editing has lots of impacts and influential to the public. The shoot mixing with powerful montage are capable to send the philosophy and the ideas of the film esay to the audience. Looking to part of this essay by Gregg Severson "Eisenstein is creating a narrative film, and Hough purports to write a history, but both are stories of the event with an intended audience and an intended effect. The small differences between the two perspectives offered by Hough and Eisenstein is significant and colors what the audience thinks of the mutiny and how they identify with it".
In term of length we see a long shot mixing with short cuts. The duration for each cut in very short if needed and very long if needed. A strong use of the graphic match in the baby's scene. In his intellectual we can feel the strong relationships between the shots. In his film, Eisenstein, we can see the achievements of the mise-en-scèn a few shots to deliver moments of people while they facing hard time with the dictatorial government authorities. Many of medium shots in the film, but the Odessa Steps clip, he almost never uses a long shots. He uses this technique to be more tough on the audience in the cinema, in order to let them sympathize with the victims of the movie. Many great outstanding tracking shots, were in a time there are no steadicam on set. As great way to balance the mise-en-scèn, he puts his camera on his DOP's shoulder many times to makes steps sequences more realistic and touching . In term of light Eisenstein uses the sunlight, among with street light. Some time he shows the camera from the police guys perspective, and many time he shows the shot from his people perspective, this is a smart way to manipulate the viewers . As other Soviets, Eisenstein, has never do a slow and boring cuts in his montag, as US filmmakers did. The establishing shot for the steps sequences are absolutely breaking the 180-degree rule, Eisenstein wants us to understand we are watching a film during his opening sequences! With no sound effects and dialogue, in this scene, Eisenstein successfully makes strong images with his montage, as Anna Chen says in her journal that "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. Early filmmakers such as George Méliès and the Lumière brothers had lifted existing theatrical methods for the screen wholesale, with little or no adaptation to the new medium. A stationary camera, the equivalent of a static audience, was placed at a fixed distance from the actors, where it passively recorded the basic mise-en-scèn".
Is this the film carries an agenda? Is this the film is made in order to achieve a political goals ? Was the film carries propaganda? It is clear to say that it is a naive to see this film as just made for that. This film devices many methods for the film industry to make greatest and better movies.""we can see the seeds for the films of Alfred Hitchcock, Stanley Kubrick, Quentin Tarantino, and others. Filmed in beautiful black and white, its scenes of uprising are rousing and incredible. The Odessa staircase scene, where the baby carriage with baby in tow glides slowly down the stairs, is one of the most famous film sequences and rightly so. Battleship Potemkin is a superior film and during its editing process, Sergei Eisenstein must have surely invented some new techniques that would inspire generations of filmmakers to come."(filmreviewsnsuch)." This film and the Odessa Steps clip opens many doors for the creativity and innovation in the montage. The creation of many important filmmakers around the world for the use of montage in an unusual manner. Eisenstein's masterpiece has lots of influences to French wave, Italian realism, and American New Wave. A lot of creative filmmakers around the world consider it as one of the most important film in the history of cinema.