"Battleship Potemkin" has a complete storyline with distinct origins and transitions, which is typical of classical screenwriters. The time extension and reduction in the use of montage, especially the former, the most famous Odyssey ladder is an example of time extension; the omnidirectional and multi-perspective montage editing when the sailor is still on the saucer is also distinctive, showing the sailor's anger and dramatic tension. Incisively and vividly. In addition, this film often uses off-axis editing when introducing the environment, usually three shots into a paragraph. This technique is rarely seen in contemporary films, perhaps because its visual and psychological feelings are too jumpy. The film's use of empty shots to express the atmosphere is also very mature. The cloudy sky and the shot sailor have formed a psychological sympathy.
Bazin sees images of stories and stories told through images as two types of cinema. Although Bazin does not like the expression of montage, it is undeniable that without montage, the film will undoubtedly lose half of the country. In fact, it should not be said that who is superior to whom, because the starting point is different. Bazin believes that the latter is more in line with the nature of the film, because the film he understands is the restoration of real time and space. For me, one of these two images is a representational image and the other is a real image. Both often appear in the same movie at the same time. For the performance of the image, it is easy to express clear concepts, and it is easy to produce wonderful works, but the disadvantage is that it is easy to become vulgar (storytelling); for the real image, it is closer to the real body, and it is easier to express ambiguousness. It is easy to produce profound works. (Because deep things are always related to our reality itself, long shots are more attractive than montages in terms of expressing reality.)
In fact, montages use the nature of photography to play a relatively realistic role, but it is separated by jumping expressions. The space-time connection between the shots is prevented, so that each shot cannot exist as an independent space-time whole, so that the shots cannot achieve the space-time reality that can be presented by the segment shots. But it is this approach that allows the imagination to run wild.
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