Film_Analysis

This essay will examine the "Odessa Stpes Sequence" in the silent film made in 1925 called "Battle ship Potemkin" directed by Sergei Eisenstein, and produced by Mosfilm.It presents a dramatized version of the mutiny that occurred in 1905 when the crew of the Russian battleship Potemkin rebelled against their officers of the Tsarist regime.Socially this film has been dubbed the most influential propoganda film of all time. It was named best movie in the Brussels World Fair in 1958. This essay will also examine the famous predecessor of horror films and that is "psycho" mainly the shower scene that made people run out of the cinemas throwing up and screaming. This film was the first of all the "horror" films and was directed by alfred hitchcock and starring Anthony Perkins, Vera Miles, John Gavin, and Janet Leigh. This film was made in 1960 it is a suspense/horror film.The film depicts the encounter between a secretary, who goes to a secluded motel after embezzling money from her employer, and the motel's disturbed owner and manager, and the aftermath of their encounter. At the time this film recieved mixed reviews from famous critiques. Revolution or war activities are not smooth, transitions between events or contain even, unsettling effects on the individuals or participants. Battleship Potemkin is anything less showing and displaying images woven together that jar the viewer, against his or her will. This is best illustrated in "The Odessa Staircase". During this segment, the Tsarist soldiers are seen massacring the Odessans. Whether or not, the viewer understands the circumstances of the war or can pinpoint a particular side to be on; ultimately you feel for those involved in the revolution, most notably the victims. The depiction of soldiers marching downward on the retreating masses of people is a contrasting one from the previous segment where the people are marching and celebrating as one. In addition, the accompanying music change of up-tempo happy, horns with varying wide shots of the boats in the harbor contrasts to the dramatic marching, angry tempo...Eisenstein believed that film montage could create ideas or have an impact beyond the individual images. Two or more images edited together create a "tertium quid" (third thing) that makes the whole greater than the sum of its individual parts. A woman wearing a pince-nez is shot in the right eye. Blood spurts from underneath the shattered lens.Images such as these are a far cry from Eisenstein's comedic circus attractions, but they serve the same function—to keep the spectator's eyes cemented to the screen. This mise-en-scène of horror leaves an even stronger impression on our psyches and nervous systems because of the way Eisenstein breaks down the action of the massacre into separate shots and joins them together using innovative methods of montage. Hitchcocks methods on suspense and montages were in ways similar and different to Eisensteins, Filmmakers and critics alike have rejoiced at this simplified encyclopedia of film director Alfred Hitchcock's techniques. From his notorious sequences seen from the character's viewpoint, to the collage of the Psycho shower scene, and the linear simplicity of his plots.