1. Eisenstein established a complete theoretical system of the montage theory. He believed that montage is the conflict within the lens, which is a concept generated by the conflict of two juxtaposed lenses, resulting in a purposeful theme effect. In this way, he raised the general artistic technique of montage to the height of thinking mode and film aesthetics, and organically linked montage with dialectical thinking. "Battleship Potemkin" belongs to the second stage of his theoretical activity, during which he focused on the study of external languages, emphasizing conflict, collision, and division. For the first time in the history of cinema, vulgar novelty entertainment or childish propaganda has been transformed into thoughtful real art. 2. Odessa Stairs: This is the most outstanding passage of it. Eisenstein filmed the slaughter of soldiers and civilians by the Tsarist army on the seaside steps in Odessa, the capital of Odessa Oblast, Ukraine. In the short six-minute massacre, Eisenstein used more than 150 shots, each shot averaging less than three seconds, repeatedly switching between the slaughterer and the slaughtered. He used various forms of conflict and montage methods, such as graphic conflict, plane conflict, etc., and constantly cut into isolated detail activities, using the change of editing rhythm to expand the time, giving people a strong emotional impact, full of passion and rationality The critical spirit expresses with astonishing accuracy the alternation of rhythms and the resulting changes of emotion. At the same time, the front and back are subtly echoed. For example, after the massacre scene, the uprising sailors of the Potemkin fired at the headquarters of the tsarist army. Three stone lions that were sleeping, awakening, and standing up appeared one after another, resulting in a new idea that cannot be expressed in a single shot: the awakening of the Russian people. , bravely resisted the reactionary rule of the tsarist government.
3. Eisenstein claimed that each element had a juggling appeal, working in harmony with each other to impress the audience together. Also in the passage of the Odessa stairs, a middle-class woman wants to beg the soldiers who are suppressing the people, and the answer to her is not words, not subtitles, not even movements, but a long line of soldiers' shadows silently, Incessantly and unknowingly descending the steps. Here, the light interacts with the lines, and the empathic effect takes place. Eisenstein stimulated the creator's imagination, and his creation involves the issue of the viewing experience, so it is also a more subtle and rich concept.
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