For my analysis, I will draw on the feature films of the Soviet avantgarde, namely these are the movies - The Battleship Potemkin (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with a movie camera (D. Vertov, 1929). Most of the films that they were created in the Soviet Union, outside the school of montage, use topics of sitcoms and.

In summary Eisenstein demonstrates his theory of conflict and intellectual montage in his films October (1928) and The Battleship Potemkin (1925). The city of Odessa is bombed by Potemkin, which tries to stop the massacre.

The Caption had a grin on his face and smiled during that scene. of a Nation, both films are examples of civil unrest during periods of political The sea is rough and on the battleship Potemkin the multitude of men on deck finds worms in the rotten meat. This film showed how the sailors are being mistreated by the higher-ranking officers on the ship. The sailors raised the red flag and tried to ignite the revolution in their home port Odessa. instability in a historical setting. 1905. reference to montage and editing. The most famous scene like Odessa Steps had the power to pull the audience into the mutiny that the film was banned in most countries even Soviet Union, and today even though it seen as an art of brilliance.

News of the result of this confrontation hits the streets of Odessa as the Potemkin sails into port.

and basic film techniques in relation to thematic and constructive plot elements.

A silent film directed by Sergei Eisenstein in 1925 that depicts the rebellion that occurred in 1905. features of Soviet cinema. Most of the films that they were created in the Soviet Union, outside the school of montage, use topics, CRITICALLY DISCUSS ANY OF THE FILMS SCREENED IN THE COURSE IN RELATION TO DISCOURSES SURROUNDING THE “DEATH OF CINEMA”. Things look grim for the crew.

Two films made in 1925 portrayed the Revolution through silent films Battleship Potemkin and Aelita: Queen of Mars. Soviet Montage Theory – Battleship Potemkin.

The Kuleshov Workshop explored the effects of juxtaposition in film, and how sequential shots convey a Plot Keywords WHY ARE SUCH IDEAS/DISCOURSES ATTRACTIVE TO PARTICULAR FILMMAKERS AND TYPES OF CINEMA? How does the graphic and rhythmic use of editing and the overall structure of the film relate to the theme of “revolution”? At the same time I will try to capture especially what is common in their systems and similar or conversely what differ. The mutiny starts an uprising against the tsarist government among the people of Odessa. A mother goes to meet the Cossacks with her dead son in her arms. For the sailors, life on Battleship Potemkin was very hard. After watching this film myself I will break down the films propaganda ways. That all the sailors should have honor and repsect, as the other sailors watched they smiled and nodded their heads in agreement.

| Cossacks arrive and shoot men, women and children on the crowd.

Revolution or war activities are not smooth, transitions between events or contain even, unsettling effects on the individuals or participants. A group of sailors approaches Odessa, bringing even the dying sailor with the inscription "killed for a plate of soup". | A very long field with a frame from the top connects the flow of people on the stairs with the waves of the sea.