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ET 7 BATTLESHIP POTEMKIN MONTAGE: ODESSA STEPS

With the quotation below (From Marilyn Rave: Closely watched Films) in mind, take a close look at the Odessa Steps sequence from Battleship Potemkin and write about the ways Eisenstein uses editing and cinematography to create the visual “shocks to keep the audience wide awake”. Chose two or thee paricular “exploding caps” to analyze. How are these jots achieved? For you, which is the most powerful jolt and why?

  
Eisenstein held that proper film continuity should not proceed
smoothly, but through a series of shocks. Whenever possible, he tried
to create some kind of visual conflict or discontinuity between two shots,
with the goal of creating a jolt in the spectator’s psyche. The visual explosions
on the screen were intended to create a continual source of stimulants
or shocks to keep the audience wide awake, a practice having the
same goal as his theater of attractions, or his ploy of exploding caps under
the audience’s seats. 

 
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One comment on “ET 7 BATTLESHIP POTEMKIN MONTAGE: ODESSA STEPS

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