Please introduce the movie Battleship potemkin.

Focus: juggling montage and Odessa steps

Sergei. Eisenstein is a theorist among directors, and he is always discussing when he is not making movies. His vaudeville montage published in 1922 is the first programmatic aesthetic declaration, marking the birth of Soviet montage theory. Take the warship potemkin (1925) as an example, briefly.

Vaudeville montage is simply the counterpoint of emotions, that is, two seemingly unrelated pictures are cut together, which arouses the emotion of * * *, and this emotion is the superposition of 1+ 1 greater than 2, such as indifferent czar soldiers and panicked crowds, accompanied by "vaudeville" music, which makes this wanton slaughter both ironic and angry. Although vaudeville originated from circus, it expanded the meaning and symbol in the field of film narration, and the intention to strengthen the emotional rendering of tension, excitement or sadness mainly depended on the director's expression.

In the film history, Odessa Steps is synonymous with vaudeville montage. Briefly talk about its performance effect from two dimensions of space and time:

Spatial construction of Odessa steps. First of all, the panoramic shot zoomed in to enlarge the depth of the picture, and the scattered fleeing crowd was in sharp contrast with the uniform czar army; Secondly, the swaying lens follows the footsteps of the crowd and the army, forming a sense of oppression and tension; Third, the narrative space is infinitely expanded from point to surface. For example, two mothers are in tandem, the former (the mother with the child) is about to get off the bridge, and the latter (the mother pushing the stroller) is still on the bridge. These two bridges are carried out at the same time in reality, but there is a "sequential" order in the film, which expands the performance space (if the duration is not considered, there can be a third and a fourth).

Time construction of Odessa steps. According to statistics, there are 155 shots in this 7-minute bridge, and the picture shows the fleeing crowd switching back and forth with the approaching army. With the length of the bridge and the speed of the army, it shouldn't take that long in reality, but montage prolongs the time and superimposes emotions.

In addition, there are intellectual montages (such as the lion from sleeping to waking), symbolic montages (such as the collapse of the little angel in the opera house) and repeated montages (such as soldiers washing dishes). In a word, the rhythm and tension of montage make Battleship potemkin a unique classic in film history.