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Which clippings match 'Battleship Potemkin (1925)' keyword pg.1 of 1
28 JANUARY 2014

Montage theory: the Battleship Potemkin Odessa Steps scene

"Montage––juxtaposing images by editing––is unique to film (and now video). During the 1920s, the pioneering Russian film directors and theorists Sergei Eisenstein and Dziga Vertov demonstrated the technical, aesthetic, and ideological potentials of montage. The 'new media' theorist Lev Manovich has pointed out how much these experiments of the 1920s underlie the aesthetics of contemporary video.

Eisenstein believed that film montage could create ideas or have an impact beyond the individual images. Two or more images edited together create a 'tertium quid' (third thing) that makes the whole greater than the sum of its individual parts.

Eisenstein's greatest demonstration of the power of montage comes in the 'Odessa Steps' sequence of his 1925 film Battleship Potemkin. On the simplest level, montage allows Eisenstein to manipulate the audience's perception of time by stretching out the crowd's flight down the steps for seven minutes, several times longer than it would take in real time"

(Glen Johnson)

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TAGS

1920s1925 • audience perception • Battleship Potemkin (1925)cinematic visual languagecontinuity editing • cross cutting • crowdDziga Vertovediting technique • film aesthetics • film montage • film sequence • ideological potential • juxtapositionLev Manovichmontagemontage theory • narrative design • Odessa Steps • parallel action • parallel cut • parallel editing • parallel textsequence designSergei Eisensteinshot reverse shotstaircasestairwaysteps • tertium quid • third thing • whole is greater than the sum of the parts

CONTRIBUTOR

Simon Perkins
03 OCTOBER 2011

Rodchenko's revolution: a socialist with true vision

"Painter, photographer, filmmaker, set designer, teacher, metalworker, [Alexander Rodchenko] revelled in the new freedoms thrown up by the Russian Revolution and was fiercely committed to liberating art for the masses.

Whether it was his blueprint for the ideal working man's club showcased at the Paris Exhibition of 1925, his illustrated covers for engineering manuals or his pioneering film poster for Sergei Eisenstein's classic Battleship Potemkin, Rodchenko's experimentation embodied the spirit of the early Soviet era.

But just as he thrived in the intellectual ferment of the Lenin years, like so many other artists–cum–revolutionaries of the period he was to fall foul of Stalin's increasingly paranoid and brutal regime.

Today his influence lives on, not only inspiring modern–day photographers like Martin Parr, but his designs are perhaps best known for the art school chic they afford to the covers of records by the Scottish indie band Franz Ferdinand."

(Arifa Akbar and Jonathan Brown, 2 January 2008, The Independent)

Alexander Rodchenko (1925). "Lengiz books on all subjects!"

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19252004Alexander Rodchenkoanimationart school • artist-cum-revolutionary • bandBattleship Potemkin (1925)design formalism • engineering manuals • figures in spacefilm posterfilmmakerFranz Ferdinandhomageidealism • illustrated covers • indie band • Joseph Stalin • liberating art for the masses • Martin Parr • metalworker • modernist aestheticsmotion graphicsmusic videopainter • Paris Exhibition • photographerphotomontagepioneeringposter design • record cover • regimerevisionRussian artistRussian constructivismRussian design • Russian Revolution • Scottishsequence designSergei Eisenstein • set designer • Soviet era • Take Me Out • typographyvisual communicationvisual designvisual literacyVladimir Lenin

CONTRIBUTOR

Simon Perkins
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