Battleship Potemkin : Eisenstein, 1925

Look for:

Examples of montage

Who is the hero/es?

Who is the villain/s?

Describe the representation of hero/es and villain/s.

How is symbolic meaning created through editing?

Montage:

-originally simply meant editing, the cutting and splicing of film together

-more associated with Russian editing principles (esp. in this class). These principles of editing stress combining images to produce an idea. The Hollywood use of this term generally is a description of sequences which link or compress time. These two principles are not necessarily in opposition, as the compression of time may be infused with meaning.

Lev Kuleshov -- used images of soup bowl, child playing with toy and woman in a coffin intercut with an actor's expressionless face. The audience saw hunger, grief, and affection in the face of the actor although none were there -- association of images produced meaning.

Montage by composition: the linkage of images due to the composition of objects in the film frame. Relationship between 2 shots can be based on similarity or opposition.

1. Similarity: ex. from Strike by Eisenstein (1924) of man's hand holding the child at an angle then cut to man's hand slaughtering cow at same angle. The 2 images form a relationship to suggest the metaphor of workers being slaughtered like cattle.

2. Opposition: ex. of 2 cowboys, one good, one bad -- shot of one coming from the left of the screen, the other coming from the right. Reversed composition. The juxtaposition creates meaning in this example by a) suggesting conflict between 2 men and b)by suggesting that the 2 men will eventually come together.

Montage by Movement:

Similar or opposed movement generally combined with composition as most shots aren't static.

1. Similarity -- ex. The Graduate -- meaning is created through the similar movements of its central subject in juxtaposed shots.

Benjamin jumps into pool

Bejamin jumps into bed with Mrs. Robinson

Benjamin idly floats on inflated raft in pool

Benjamin laying in bed next to Mrs. R. in similarly relaxed position

2. Opposition -- ex. Hitchcock's Strangers on a Train -- physical direction of movement of 2 men is opposed. They arrive at the train from differenct ends. Move toward center screen from opposite directions which gives viewers the sense that they will eventually come together.

Montage by Repetition:

Juxtaposition of different shots intercut with a repeated image. Can be soothing or anxiety-provoking

Montage by Rhythm:

Series of shots creating a rhythm through the length of each shot. Cutting away or parallel editing would be an example. Suspense created by shortening shots.

Montage by Content:

Detail and Metaphor. Juxtaposition of images with related content. Detail is added to detail to create meaning. Pudovkin's theory of montage through linkage. Ex. attempt to show uniformity in commuters at train. So shots of briefcases added to shots of similar suits and then cut to faces all wearing same expression. All of these images are natural to the scene. However, could also use quicker method of linking shots with unrelated content but united by one idea -- Eisenstein's theory of collision in montage. He termed it "intellectual montage". Ex. Chaplin's Modern Times: shot of commuters waiting for a train juxtaposed with a shot of sheep herding in the same direction. Also -- example from Potemkin -- watch for shot of Potemkin firing on Odessa -- look for stone lions

Ex. Pictogram of eye and water coming together to --> crying

History of Potemkin:

1905 -- historical uprising of Battleship Potemkin during Russo-Japanese war

Already revolts of the Communists against the Tzar. Potemkin uprising historically unsuccessful.

1917 -- working class overtakes the Tzarist regime

1925 -- Communist Gov't Central Committee requests series of films commemorating the 1905 revolution. Lenin: "cinema is the most important of the arts" (question: why do you think he said this?) Eisenstein felt film could synthesize the art forms which preceded it.

Potemkin originally one of 8 episodes in a panoramic picture entitled 1905.

Eisenstein wanted to portray the 1905 revolution centered around the masses, showing the nature and meaning of the Revolution. Eisenstein said, "We tried to take the historical events just as they were and not to interfere in any shape, manner, or form, with the process as it was actually taking place." Found series of sketches by Fr. artist who had witnessed the massacre on the stairway

2 concepts at the heart of E's sense of montage: 1) Psycho-physiological and

2) Hegelian theory.

Utilitarian purpose as well as artistic -- propaganda as well as art. Most important -- to affect the spectator. Wanted to electrify the masses. Psycho-phys. approach: Pavlov -- re-condition the reflexes of humans to lead them in a desired direction. E felt the cinema could create a physiological impression as it projects matter and bodies rather than just feelings. Have a physical response to shooting scene, for example.

Hegel -- idea of 2 opposing forces acting to produce a third, independent force. Synthesis of original thesis and antithesis.

Typage and montage central to Eisenstein's work.

Typage

-- no professional actors, talked with survivors -- typage theory -- people chosen on basis of their "type". Quote: "The only thing I need is contact with the people"

-- felt their was a greater sense of reality with this technique. Came from imagination and observation. Ex. Streetcleaner--> doctor

Philosophy -- a 30 year old playing a 60 year old --> rehearsal is weeks at tops. 60 year old playing 60 year old has a lifetime of rehearsal. Act as themselves.

Potemkin = montage of film pieces. Montage plus captions superseded acting and story conventions. Rhythmic and content montage used especially:

Rhythmic:

formal tension by acceleration obtained by shortening the pieces of film. Odessa steps -- tempo of soldiers' feet as they march down the steps violates meter. Unsynchronized with the beat of the cutting. Tension also supplied by the transfer from the rhythm of the soldiers to another rhythm, another type of downward movement -- the baby carriage. Mounting tempo to sequence. Also, shot of woman moving against the tempo of the soldiers (montage by composition, movement, and rhythm)

Content: sought to reveal the inner nature of images. Ex. fog sequence preceding the mourning for Vakulinchuck

Narrative Scheme:

Act 1: Men and Maggots

waves crashing

montage of composition -- duties

scrubbing ship indicating, when intercut with boiling broth, that they're gradually coming to a boiling point

contrast of faces of officers v. crew

uniforms

glasses of doctor

breaking of dish

Act 2: Drama on the Quarterdeck

canons protruding on deck -- authority of government

subjective camera -- bodies hanging from yardam

counterpoint of cross with guns, Vakulinchuck told he is fighting God

cross -- link between church and regime

cut from throwing doctor over side to "down to feed the maggots" and the glasses of the doctor

end -- Vakulinchuck on pier

Act 3: Appeal from the Dead

cabin sequence -- slower editing

night to dawn

mistiness sits on town

dissolve from clear steps into people coming down the steps to start the day

increase tempo and number of steps

growing fist -- close-up -- gradually clenching as the masses decide to rebel

"The land -- for us! Tomorrow -- for us!"

cuts from steps to ship -- links 2

end -- flag being raised

Act 4: Odessa Steps

specific faces of masses -- not dehumanized

chaotic rush of masses v. mechanical soldiers

montage by movement, rhythm

lions -- masses proceeding from sleep to being awake to attack

expands real time

Act 5: Meeting the Squadron

suspense -- shots of waiting, waves. Slow tempo

montage of machine parts, canon muzzles, anxious looks -- "Brothers!"

prow heading toward camera

strong solidarity

Odessa Steps

Expression of mounting emotional intensity through movement and editing

1. close-ups of human figures rushing chaotically; long shots of same scene

2. chaotic movement superseded by soldiers marching rhythmically down steps. Tempo increases, rhythm accelerates

3. Reversal of downward movement -- from crowd to individual woman carrying son. Slow and solemn

4. masses. Headlong rush downward

5. Solitary figure -- slow, solemn -- going up -- but momentary shot

6. leap in reverse direction -- down. rhythm and tempo accelerate. shot of carriage