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Battleship Potemkin

            Political propaganda is never a simply stated commercial applied to politics. It is instead an organized explanation that is extremely necessary to win the support of a specific group of people that associate themselves with the ideas being expressed. Propaganda is useful in drawing out emotions that people try to hide, but more importantly it can be hidden in many forms. Propaganda is especially powerful when utilized in film, because the visual image helps to shape the viewers" mind. .
             The film Battleship Potemkin uses a rapid succession of images in the form of montage to successfully convey a connection between political motive and aesthetic images. Within the film lie several political motives, all of which must be conveyed to the audience by combining several dramatic camera shots due to the fact the film has no formal dialogue between the actors. This montage is specifically crafted to draw the viewer into the film and leave them with heightened emotions about the political agenda being presented.
             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. In the film Battleship Potemkin, the viewers" first introductions to some of the films" characters are as they are sleeping. The camera closes in on the faces of almost every sailor in the ship as they are in their most innocent state. This use of the camera forces the viewer to sympathize with the sailors and form an angry association with the ships general who torments them as they sleep. .
             Eisenstein used montage as a thought process, which raised conflicts that needed to be resolved. The first conflict immerges when the sailors on the battleship complain about the quality of the meat they have been eating.


Essays Related to Battleship Potemkin

1. Comparing Birth of a Nation and Battleship Potemkin

... view and although the plot is not always historically accurate or politically correct the special camera and editing styles Griffith used to portray his epic story were monumental. Sergei Eisenstein's "Battleship Potemkin" is a story about the infamous Odessa revolt is another example on how a film can produce feelings of nationhood. The film was commissioned by the Russian government in 1925 to ... , and the boat's engine whirring on the sea, which helps build up the tension in the air. Suddenly an intertitle exclaims, "Brothers!" meaning that the Potemkin sailors and the squadron sail...

  • Word Count: 1799
  • Approx Pages: 7

2. IIs "Battleship Potemkin" Effective Propaganda

... film is to be judged as an effective instrument of propaganda. Originally created with the intention of reaffirming nation-wide belief in Communism, Battleship Potemkin became a vessel in which Eisenstein succeeded in visualising many of his own theories of cinematic expression, in particular montage, a somewhat impromptu discovery by the American D.W. Grithith (Intolerance, The Birth of a ... reckoning finally arrives what will happen, will the squadron open fire? The tension has reached its limit and following a sailor's signal from the Potemkin to "join us". Right on cue the rest of...

  • Word Count: 1682
  • Approx Pages: 7
  • Has Bibliography

3. The Battleship Potemkin

The Battleship Potemkin The film Battleship Potemkin was completed in 1925, eight years after the Russian revolution. In 1923 Trotsky noted: "The fact that we have so far, not taken possession ... agitated, while some of them look down. We also get a chance to see the other side of the battleship in a reverse shot. Two cannons are gazing straight into the camera. This is followed by an overview shot of Potemkin floating in calm sea. We also meet the priest, rather a caricature figure. A Shot-by-Shot Analysis The ... well as in Strike (the factory owner), some of the characters are fat (the ...

  • Word Count: 2388
  • Approx Pages: 10
  • Has Bibliography
  • Grade Level: High School

4. Battleship Potemkin / Birth of a Nation

Two Directors; One Mission Though there are many differences between the two silent films Birth of a Nation, directed by D.W. Griffith, and The Battleship Potemkin, directed by Sergei Eisenstein, it is their similarities that are most intriguing. Both directors were attempting to get the audience to take an active participatory role while watching these films. ... again during his assassination, we see our main characters right there with him. Eisenstein uses real events to draw his viewer in as well. For example the mutiny on the Potemkin truly happened, though the Odessa Step Sequence was ...

  • Word Count: 559
  • Approx Pages: 2

5. Battleship Potemkin Review

Battleship Potemkin First and foremost I would like to say that I enjoyed this movie more than what we saw of "A Birth of a Nation". This movie literally blew me away to the point of my jaw cracking on the ground. It was an amazing experience to watch a movie of that quality made in 1920!!! Wh...

  • Word Count: 330
  • Approx Pages: 1
  • Grade Level: High School

6. Propganda Films

... . But remarkable images displayed in movies can capture an audience's minds: The horror displayed in the trampling of the kid and the baby carriage rolling down the Odessa Steps in Battleship Potemkin or the ritualistic slaughter in The Eternal Jew. These remarkable images serve a purpose of playing on the audience's emotions instead of their intellect. It is important for propaganda film to ... politicized countries of the time: Soviet Russia and Nazi Germany. The films themselves are interesting because they have been labeled works of art; added interest is within the fact that Battles...

  • Word Count: 2158
  • Approx Pages: 9
  • Has Bibliography

7. Events that have helped shape the techniques of contemporary

... early Soviet cinema a particular aesthetic quality. For example, Eisenstein worked closely with his cameraman Edouard Tissé to frame striking images of faces, crowds and objects. Especially Potemkin presents the clearest example of Eisenstein's influential theories of montage. Eisenstein constructed his films using shots as his cinematic building blocks. He avoided long takes, which detracted from ... the experience of their own lives) rather than fully developed characters, he created a forceful, incessant logic for this story of the 1905 mutiny of the crew of Battleship Potemkin. Eise...

  • Word Count: 2143
  • Approx Pages: 9
  • Has Bibliography
  • Grade Level: Undergraduate

8. Montage styles of Sergei Eisenstein and Dziga Vertov

... direction, shape, volumes and light, he could create definite meanings and ideological messages through form, especially through use of adroit juxtaposition of shots in the film. For example, in "The Battleship Potemkim", the juxtaposition of descending faceless soldiers with close-ups of civilians, pleading mothers and other members of society powerfully convey a message of repression whilst scenes of explosion at the ... messages that implicitly reflect realities and aspire for a change in the same parallel. With thought-provoking themes, spectacular montages and visual effects, "The ...

  • Word Count: 1361
  • Approx Pages: 5
  • Grade Level: Graduate

9. The Editing Styles Of Grifith, Vertov, And Eisenstein

... Griffith, each had a skill at editing for story with cross cutting. Eisenstein though focused more on emotion and rapidity. His idea of editing was to reinforce emotions and intensity. The battleship Potemkin used a rapid succession of shots, in my opinion to show revolution and turmoil. As soon as "suddenly" hits the screen and the soldiers fill the streets, the rapidity of the ... ...

  • Word Count: 856
  • Approx Pages: 3
  • Grade Level: High School

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