Art 330 Film Study Essay Example | Topics and Well Written Essays - 750 words

Art 330 Film Study - Essay Example Director Sergei Eisenstein thought beyond the typical box of intending to bring across mere entertainment and art that registers to mind with common fashion. It occurs as if a rare mutiny of a crew against their officers demonstrates a challenge to shift the normal course of a national timeline from an object of faint dark memory to one of haunting suspicion. In paying tribute, thus, to the party or side of event which he thought deserved justice, Eisenstein came up with a project of revolution rather than â€Å"The Battleship Potemkin† in the usual outfit of a remarkable silent film. More than focusing on the aspect of commemoration and chronology, Eisenstein may be recognized to have employed an editing technique that could generate a subject of moving power. Accordingly, the director renders â€Å"The Battleship Potemkin† to take on authority by engaging his audience into a stream of perception that could not seem to help impact feelings and ideology in the viewing p rocess. Despite the total absence of voice from each character involved, the film manages to convey its potential through the musical score or the choice of orchestrated sound effects which suitably fit individual acts from a wide range of tempo and intensity. Instrumental rhythms used vividly reflect the thematic message of socio-political struggle with acute notes where appropriate, scene after another. Besides music, Eisenstein made it a point to work with flashes of sharp images that readily stick to memory along with interval words or phrases that are rich with direct expressions of human nature. As such, lines like â€Å"We’ve had enough rotten meat† with a tone of utter indignation when men of the ship protest for decent food free of worms and â€Å"The men refused to eat the soup† being â€Å"seethed with rage† altogether forms a picture of the crew’s reasonable cause behind the insurrection. Moreover, â€Å"The Battleship Potemkin† becomes capable of establishing some degree of illusion to the actual events by adopting a technique whereby certain real-life details are either omitted or elaborately sensationalized so as to create illusory figures that possess high tendency to replace any formerly imagined cases of truth. This is particularly evident in the manner Eisenstein necessitates to incorporate the â€Å"Odessa Steps† sequence illustrating the massacre of civilians along the Potemkin stairs or Primorsky which did not in reality take place. At this stage, Eisenstein puts in application the ‘montage’ theory to reconstruct a perspective of the original occurrence to mind by showing an imagery that is juxtaposed or edited in rapid progression, magnifying visceral influence among the viewers. Image capture at abrupt pace seems to accumulate into compressed narrative information sufficiently compact and poignant to enkindle mixed sentiments of rebellious anguish and sympathy especially afte r the occasions of watching the baby carriage running away as well as the sight of the three cherubs at different angles presumably in punching mode. Eventually, such cinematic recreation bears the capacity of exaggerating the idea of oppression, in this case, to the extent that the viewing public can be stirred to yield to strong emotional and perhaps, philosophical change of insight. The apparent objective of the montage concept is conducive to biased moviemakers