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Which clippings match 'Odessa Steps' keyword pg.1 of 1
21 JUNE 2014

Nothing Lasts Forever: a low budget parody about a struggling artist

"Writer–director Schiller is best known for his short films from the early days of SNL and in 1984, together with producer Lorne Michaels, concocted this imaginative fantasy–comedy about true love, bad art, magical hobos, Carnegie Hall and space travel. Sweet, absurd and crammed with an incredible cast and countless hilarious moments of inspired brilliance, it was never released and never found the cult–audience it so rightfully deserved."

(Zack Carlson, 16 December 2012)

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TAGS

1984 • Alles Ist Verganglich (1984) • anti-consumerist • Apollonia Van Ravenstein • art test • artistauthoritarianism • becoming an artist • Bill Murrayblack and whiteblack humourbus • Calvert Deforest • Carnegie Hallconceptual artcult film • Dan Aykroyd • dream sequence • Eddie Fisher • forgotten works • Holland Tunnel • Imogene Coca • kindness • Lauren Tom • Lawrence Tierney • Lorne Michaels • low budgetManhattan • Marc Alderman • melange • menial job • moon • Mort Sahl • New YorkNew York City • Nothing Lasts Forever (1984) • Odessa Stepsparodypasticheperformance art • Port Authority • repurposingromantic notion of the artist • Sam Jaffe • Saturday Night Livespace travel • starving artist • stock footage • struggling artist • Tom Schiller • tramp • treadmill • underground culture • unreleased films • Zach Galligan

CONTRIBUTOR

Simon Perkins
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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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
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