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Another poster of Battleship Potemkin. The posters for the movie Battleship Potemkin created by Aleksandr Rodchenko in 1925 became prominent examples of Soviet constructivist art. [49] One version shows a sniper sight on two scenes of Eisenstein's movie, representing two guns of the Battleship. [50] Another version was created in 1926. [51]
The Potemkin Stairs as seen in Battleship Potemkin. As erosion destroyed the stairs, in 1933 the sandstone was replaced by rose-grey granite from the Boh area, and the landings were covered with asphalt. Eight steps were lost under the sand when the port was being extended, reducing the number of stairs to 192, with ten landings.
The hero is the sailors' battleship, the Odessa crowd, but characteristic figures are snatched here and there from the crowd. For a moment, like a conjuring trick, they attract all the sympathies of the audience: like the sailor Vakulinchuk, like the young woman and child on the Odessa Steps, but they emerge only to dissolve once more into the ...
The Battleship Potemkin, directed by S. M. Eisenstein, continues to be one of the most significant works of Russian and world cinema. Year of production: 1925 Director: Eisenstein Sergei Screenwriter: Agadzhanova Nina Composers: Nikolai Kryukov, Dmitry Shostakovich Cinematographer: Tisse Eduard Production designer: Rahals Vasily
Another rhythmic montage example from Battleship Potemkin ' s "Odessa steps" sequence. Tonal – a tonal montage uses the emotional meaning of the shots—not just manipulating the temporal length of the cuts or its rhythmical characteristics—to elicit a reaction from the audience even more complex than from the metric or rhythmic montage ...
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The film is composed of four scenes: 1. One shot of a battleship entering a harbour, probably an archive shot. 2. One fixed camera wide shot of a set figuring the deck and bridge of a ship where the mutiny takes place. 3. One wide shot of a set showing the ship at the quay in Odessa.
These and the scene with the nurse screaming on the Odessa steps from the Battleship Potemkin later became recurrent parts of Bacon's iconography, with the angularity of Eisenstein's images often combined with the thick red palette of his recently purchased medical tome.