Battleship Potomkin Essay

Within this essay I will look at how I as a director will approach directing Chekhov, commenting on how I went about choosing the sections of the script I wish to use, why I chose these sections and how. I will then reference Katie Mitchell’s twelve golden rules on working with actors to demonstrate how I will approach my rehearsals and working with the actors. I will then go on to mention how and where the piece will be performed, continuing on to how I will use there lighting, sound and setting finishing with costume.

In the presented essay I will compare the style of work of selected artists in the montage of the film. I will try to point out some general regularities and features of Soviet cinema. At the same time I will try to capture especially what is common in their systems and similar or conversely what differ. For my analysis, I will draw on the feature films of the Soviet avantgarde, namely these are the movies - The Battleship Potemkin (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with a movie camera (D. Vertov, 1929).

From a nag to being a phenomenal race horse. Seabiscuit is not well known these days, but Seabiscuit is legendary in the Great Depression. He was a symbolism of Hope. Seabiscuit was one of the greater things that happened at this time. He had a rough life along with the people growing up in the great depression, where he was bred at Wheatley Stables, didn't like how he moved so they took him away from his mother. Later on, Seabiscuit’s trainer Omaha told his jockey at the time to beat him on his left side for a quarter mile, and see if Seabiscuit will accelerate in his speed. Seabiscuit's things that helped him get this far in his career was Seabiscuit early life, His amazing training by Smith, Seabiscuit's early career, Middle years, then his Late Years.

Maritime wars took a noteworthy change amid the common war. On March 8 1862 the Confederates revealed a ship that would change maritime fighting everlastingly, making wooden body ship outdated. The Confederates set two layers of steel plate over the structure of the "Merrimack", situated ten firearms along its side and included a smash her bow. This resilient ship in its first fight, in the harbor of Hampton Roads assaulted five Union boats. The "Merrimack" renamed the "Virginia" sank one Union boat, exploded another ship, and made a third run ashore. No shots could infiltrate her shield. The unexpected thing was the Merrimack was left to sink after the Union naval force cut gaps into it.

Theorist Vsevolod Pudovkin claims that narrative films are mainly a “product of construction” and cautious compilations of “selections of images that have been shot” (Renée).

The “Gods Sequence” also known as “General Kornilov attacks” (Sperbur) is an excellent example of both Eisenstein’s political views and his film form, which lead it to be cut from many U.S. prints because of its anti-religious symbolism. With the title “In the name of God and Country” based on Kornilov’s banners used in his march on Petrograd, Eisenstein uses the conventions of Soviet Montage to comment on both God and Country. Due to lack of film stock, leading

The directors chosen camera technique, a simple two composition that progresses the scene a steady pace, forces the audience to feel a part of the awkward exchange; obviously, a quality of film that could not be as profoundly achieved through the narrative in the novel.

‘There are…two kinds of film makers: one invents an imaginary reality; the other confronts an existing reality and attempts to understand it, criticise it…and finally, translate it into film’

Stanley Kubrick’s sexual parody, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, illustrates an unfathomed nuclear catastrophe. Released in the midst of the Cold War, this 1964 film satirizes the heightened tensions between America and Russia. Many sexual insinuations are implemented to ridicule the serious issue of a global nuclear holocaust, in an effort to countervail the terror that plagued America at that time. Organizing principles, such as Kubrick’s blunt political attitudes about the absurdity of war and the satirical genre, are echoed by the film style of his anti-war black comedy, Dr. Strangelove.

On April 14,1912 a great ship called the Titanic sank on its maiden voyage. That night there were many warnings of icebergs from other ships. There seems to be a conflict on whether or not the warnings reached the bridge. We may never know the answer to this question. The greatest tragedy of all may be that there were not

The officers are shown to be dimwitted, as they fiddle with their mustaches, while the sailors are enraged at the meat they are being fed. This is contrast because the sailors represented the people that were directly affected by the revolution and the sailors constructed the people as strong and ready to fight. On the other hand, the officers made the government look responsible, since they were blamed for social and political anarchy in 1905, during the revolution. The officers were shown as being weak and not fazed by the problems that were being faced by the Soviet people. The sailors fought back and a deluge of montage is used make viewers feel on edge. The dark and light images manufacture feelings of discomfort, since the viewer is completely familiar with the turmoil that broke loose on the steps of Odessa by the use of contrast and montage, which is another example of socialist realism as the scene on the steps resembles the characteristics of socialist realism.

to dramatize the people’s massacre through the symbolized slaughter of the bull. The jump-cuts and non-diegetic inserts, the use of graphic patterns of lines and shadows, the contrasts between long shots of the enemy and close-ups of citizens, contrasts between shots from different perspective of the regular people and the Bolsheviks are some other of the non-traditional and signature characteristics of Eisenstein’s films. Presented from citizens point of view editing achieves sympathy and compassion at the audience accepting the Revolution as their own point of view of the historical event. The montage of unique rhythm and graphic elements creates a wholeness of the film structure and defines the specific style of of intellectual editing in Sergei Eisenstein’s works and his propaganda vision.

First, the proletariat is responsible for tearing down the statue of Alexander III. Thus, the revolutionary body of the working class itself is responsible for the first step towards socialism rather than being directed by a revolutionary leader. Secondly, the Provisional Government, appears counter revolutionary and comparable to the tsar. According to Eisenstein, the Provisional Government’s resemblance to the autocracy is simply the inevitable result of an incomplete revolution. Thus, montage is used to convey political ideology, but also forms the content of the film. Eisenstein’s use of montage lets the statue become more than a simple symbol representative of the tsarist rule, but rather as a means of expressing the need for complete revolution. Without the use of montage, the statue’s meaning would have been far more limited, and thus far less prominent within the film. In this case, Eisenstein’s use of montage influences the film’s visible content as well as its meaning in a way that political ideology alone would not

The Kuleshov Workshop explored the effects of juxtaposition in film, and how sequential shots convey a