How Did The Odessa Steps Sequence Influence The Theory Of Montage

Battleship Potemkin was a 1920’s Russian Propaganda film that was used to inspire change, and an uprising against the Tsarist government. During that time period in Russia there was an Revolution for change and to the eventual rise of the Soviet Union. During this time they were several different propaganda movies that some what inspired the Russian nation. Battleship Potemkin was one of those and it was one of the more famous ones. After watching this film myself I will break down the films propaganda ways. Near the beginning of the movie it showed how sailors daily lives were like under the Tsarist control.

Enthusiasm was about Soviet miners in Eastern Ukraine and didn't have nearly the same impact as A Man with a Movie Camera, but it was similar in that didn't have any actors or straightforward narrative. There are some neat shots using double exposure and the film running backward, as well as editing that's at times much faster than what was common at the time. It was also the first sound film from Vertov.

The ‘cult’ of the Second World War for the Soviet Union, Denise Youngblood writes, was heavily supported during the war years through the medium of film. Of the seventy films produced in the Soviet Union between 1941 and 1945, 70 percent were focused on subjects directly pertaining to war. This is an overwhelming percentage of war films when compared with the genre trends of other European film industries of this time. Youngblood notes, however, that these films often did not depict frontline battles, or even the homefront itself, as was the tendency of other nations’ films. The devastation of the Eastern Front was simply too enormous for ‘cheery Stalinist propaganda’ to hide, and Soviet audiences acutely aware of its demoralising reality.

In 2013, Russian film director and TV host, Fedor Bondarchuk released the first ever Russian film shot completely using IMAX technology. This film of his is Stalingrad. “STALINGRAD is an epic look at the battle that turned the tide of World War II. A band of determined

When comparing Ballad of a Solider directed by Grigoriy Chukhray with earlier works such as Battleship Potemkin by director Sergei M. Eisenstein and Man with a Movie Camera directed by Dziga Vertov, one should feel obligated to mention similarities in the story, theme, style and, technique, as well as their differences. Their execution of ideas as well as their artistic imprint forever changes how we view modern day cinema.

In conclusion the multiple differing techniques of filmography by Kubrick add a second layer of analytic meaning to the film. By analyzing

Shortly after, the brothers Auguste and Louis Lumiere created a hand-cranked machine called the cinematographe, which could both capture pictures and project still frames in quick succession. The first motion picture studio, Nestor Motion Picture Company, was built, then one year later merged with Universal Film Company. By 1912, at least 15 independent studios located around the town were ready to shoot.The first color movie is housed at the Electric Theatre in 1912. In 1915, Hollywood began taking it’s famous shape: glamour, fame, and stardom, and thus the American dream is born! In 1915, a film that was supposedly the most important film of all time, D. W. Griffith's “The Birth of a Nation” uses brand new techniques such as story flashbacks, dramatic close ups, and cross cutting. Along with the start of Warner Brother Studios by four brothers (not Grauman) Film Director William Desmond Taylor is murdered at his home a few blocks away from his studio office in 1922. The crime is never solved. In 1922, Rin Tin Tin, the famous trained German Shepherd makes his first appearance (appears in

Sergei Eisenstein and Dziga Vertov are among the most identifiable names in early Soviet film. Their contributions to film, in the areas of montage and documentary film respectively, have helped to structure film, as we know it today. However, apart from their theoretical contributions to the field, both directors played an imperative role in Soviet film during the 1920s and 1930s. This paper examines historical revisionism within their film, how their theories of montage influenced the revisionism, and how they were persistent in the use montage throughout their careers as filmmakers to assert themselves as artists.

The Soviets realized that through editing, two shots could provoke an emotion or idea that was not originally present in either of them. Eisenstein described it perfectly: “Everyone who has had in his hands a piece of film to be edited knows by experience how neutral it remains, even though a part of a planned sequence, until it is joined with another piece, when it suddenly acquires and conveys a sharper and quite different meaning than that planned for it at the time of filming” (Giannetti 163). The invention of Soviet montage editing allowed for filmmakers to develop a new power in which they could psychologically manipulate audiences. Earlier studies of montage cinema have solely focused on its visual and technical properties; however,

Nonetheless, Eisenstein’s technique, quite similar to Kuleshov’s theory known as the ‘Kuleshov effect’, brought the power of montage to a higher level, consequently making it a efficacious tool for propaganda. Due to its immanent drama filmmakers will naturally be enticed by politics, but possibly also because the stakes

Soviet Russian filmmaker Sergei Eisenstein one of the most influential early masters of editing. Was different from many filmmakers who were worried with editing for clarity. Eisenstein was interested in the open possibilities of editing. Including, altering the pace of how rapidly one shot prospered another. Altering shots of different topics, so that viewers would comprehend a symbolic connection between them. Many of Eisenstein’s editing skills can be seen in “Battleship Potemkin” a 1925 film that became a universal hit. Thanks to Eisenstein contributing to editing important possibilities of film as a visual medium were acknowledged and explored by the first generation of filmmakers. Resulting in providing todays filmmakers with a far more

The first one that was named was Ernst Lubitsch. Lubitsch left school at age 16 to pursue an onstage career. His breakthrough was in the movie “The Eyes of the Mummy”. After that, during his second year as a director, he made seven movies. He is quoted to have given movies “the Lubitsch touch” with a sense of wit and sophistication.

Vsevold Pudovkin was a Russian Soviet director, actor and screenwriter. He was on of the great innovators, he taught be the father of Soviet cinema Lev Kuleshov. He called to fight in World War 1 whilst studying engineering at Moscow. After escaping the Germans captivity he was 25 when returned to Russia he started studying Chemistry and physics but after seeing D.W. Griffiths film “ Intolerance” he was inspired to follow film. He applied to the Sate Institute of Cinematography at Moscow in 1919. However in 1919 film was still a very young art form and ideas and techniques that are commonplace today were just being developed at that time. Pudovkin most influential role in the world cinema was his theories on editing. He recorded that

The use of montage dates back to the days of Eisenstein and it has greatly transformed the film industry in several major ways. Montage has been used in the film industry to combine several series of short shots into a continuous film that can be watch by audience. This essay is aimed at illustrating the history of Montage from the Soviet era in the 1930s especially the use of the Soviet montage theory to better the quality of films that we watch today. The connotation of the word “montage” is also sometimes referred to as cutting in certain sectors of France (Eisenstein, 2010). This corroborates with the actual meaning and intentions behind montage in the film realm. This essay will also give the advantages that montage has in the film industry.

Leni Riefenstahl, arguably the most renowned female film-maker of all time, and unarguably the most influential, created a number of films that were lauded across the world for technique, innovation and beauty. Leni first entered the world of film making as a dancer and an actress after finding acclaimed director Dr Arnold Fanck. She convinced Fanck of her acting ability and secured a role in one of his films, shortly afterwards she was commissioned by Fanck to make her own films. Under Dr Fanck’s wing she was taught how to go about creating her first feature and with his help she made the film ‘The Blue Light’ - a critical success. It was this film that attracted the attention of Adolf Hitler, who then invited her for a meeting with the intention of having her make what would be known as ‘the ultimate propaganda film’.