The Relevance of Sound in Silent Films Before the introduction of sound in the film industry‚ two prominent silent films during the 1920’s were Nosferatu: A Symphony of Horror and The Battleship Potemkin. In Chapter 11 of The Film Experience‚ Corrigan and White pose a question regarding the use of sound in silent films. Corrigan and White asked whether sound allows film to fulfill a mission to reproduce the world‚ as it is‚ or if sound hinders cinema’s visual expression. Considering Corrigan
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The soviet montage style of film came around with the 1917 Russian Revolution. Before this time most films had been made copying the narrative films of other countries. Russians believed that cinema was a true art that could be used to aid their cause. The problem was that they lacked film and equipment because of war torn Europe (Mast and Kawin 120). This is where montage truly began because each shot had to have meaning and impact. The film makers could not waste what little film they did have
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Soviet Cinema and the Art of Montage Paul Karpenko CINE 261 11.17.2002 A certain kind of inspiration must be born of a time in which one’s country is heading into a brave new world. Nothing should ever be as it was and the future is as expansive as all of Russia itself. In the time of revolution - the late teens and early twenties - Soviet cinema established itself as a unique entity in the mass of national cinemas. Its innovation was stepping away from common narrative structure and adapting
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Metropolis Fritz Lang’s Metropolis is a very influential movie that portrays several underlying meanings that allows the viewer to distinguish for himself. Metropolis was the first science fiction film made‚ which symbolized a new mark in the film industry. It was produced in Germany in 1927‚ directed by Fritz Lang. This film tells a story of the world of thinkers and workers. The thinkers are people who live in a life of luxury. The workers are the people who live underground
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The Untouchables Essay In this essay I am going to compare the shootout scene of the movie "The Untouchables" and the clip of the Odessa Steps sequence from Potemkin. The first thing the viewer sees in the clip of The Untouchables is Elliot Ness at the top of the staircase helping a mother with her baby carriage. A close up shot of the face of one of the villains is shown right before the gun fire breaks out. During the confusion‚ the baby starts rolling down the stairs. The music turns to
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Clips from Battleship Potemkin and The Untouchables In introduction to this essay where I will be comparing and contrasting two scenes from Battleship Potemkin and The Untouchables‚ I will be looking at similarities in how the film has been shot‚ edited‚ what sounds are in there and their use of montage. I will also include references to text that strengthens my points and arguments made. I will start briefly by summarising what appears in both of the clips. First off‚ Battleship Potemkin (1925) is
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the movement of Soviet montage and French New wave can be considered to be reaction to which involved young artists that were intricately connected to society. With reference to two films‚ which are The Battleship Potemkin (Sergei Eisenstein‚ Russia‚ 1925) and Breathless (Jean Luc Goddard‚ France‚ 1960)‚ this essay will attempt to examine how social and political upheaval which Soviet Union was enduring result in its aesthetic approaches‚ and technical aspects of Soviet Montage cinema and how the social
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Reflective Response: Eisenstein’s Montage and Goodfellas Eisenstein defines montage as a conflict between the meanings of two subsequent images that creates an entirely new meaning when viewed consecutively. For example‚ in his The Battleship Potemkin‚ Eisenstein most famously meshes the shots of Russian soldiers gunning down revolutionary rioters‚ and a baby in a carriage falling down the steps of a building. These two images have their own entities‚ but viewed one after the other‚ their meaning
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time‚ whereas Sergei Eisenstein who initially developed montage further through the theory‚ he did this by breaking the confines of time and space in order to communicate new abstract ideas. In 1918 Eisenstein wrote a manifesto‚ The Montage of Attractions‚ this developed Lev Kuleshov ideas and theories about the construction of meaning through editing. Throughout his career‚ Eisenstein would return to his concept of an ‘intellectual montage’ this is where the counterpoint and juxtaposition produced
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INTRODUCTION Eisenstein had begun during the late 1920s into montage and cinematography in the other arts. Sergei Eisenstein is widely regarded as much by people who have not seen his films as by those who have‚ as one of the most important figures in the history of cinema. Historically‚ his reputation developed around four factors. First there were the films themselves‚ which were not only masterpieces but almost attracted controversy and indeed censorship‚ in their home country as
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