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Battleship Potemkin: Artificial Representation of Movement, Alogicalby Michael Frierson
Eisenstein writes, "This device used for symbolic pictorial expression. Potemkin. The marble lion leaps up surrounded by the thunder of Potemkin’s guns firing in protest against the bloodbath Odessa steps.The effect was achieved because the length of the middle piece was correctly calculated. Super imposition on the first piece produced the first jump. Time for the second position to sink in. Superposition of the third position on the second – the second jump. Finally the lion is standing." Certainly, the sequence is metaphor: the revolution is waking even the sleeping stones. But Eisenstein’s “writing gives far more attention to the emotional and perceptual side of the passage. The rampant lion, he says, exemplifies the ‘artificially produced representations of movement’ that yields a ‘primitive – psychological’ effect. As literal filmic ‘animation,’ it snaps the spectator to attention. More specifically, the shots have an auditory effect. In whipping a snoozing lion into a roar, the editing synesthetically evokes the tumult of the barrage. . . .’The stones roared.’” Bordwell, Cinema of Eisenstein, 78.
Battleship Potemkin: Artificial Representation of Movement, Alogical
Eisenstein writes, "This device used for symbolic pictorial expression Potemkin. The marble lion leaps up surrounded by the thunder of Potemkin’s guns firing in protest against the bloodbath Odessa steps."
- from Battleship Potemkin (1925)
- Creator: Sergei Eisenstein
- Distributor: Corinth
- Posted by Michael Frierson