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In fact, this ingenious arrangement consolidates the structure of the film on the one hand, and on the other hand, each transformation transforms into the opposite side when the contradiction occurs to the extreme, which also reflects Eisenstein's materialist dialectic view.

Finally, between each scene, there are different similar elements, most notably the executioner slowly lowering the barrel of his gun in a canvas-covered execution and the battleship coming to meet the Potemkin slowly lowering the muzzle.

The attacking battleship was connected with the sailors with guns, and the sailors were connected with Vakulinchuk, and this many-to-one and one-to-many relationship constantly demonstrated the subjective consciousness and great strength of the masses in the proletarian revolution.

The entire film is carefully designed by the director one by one and embedded in an interconnected, robust structure.

But, in Eisenstein's view, a self-contained structure itself only achieves a universal organicality, or a lower level of organicity.

In order to achieve a broader aesthetic pursuit, he strives to give the film a more universal organic.

In other words, he wanted to make the structure of the film the same as that of the natural world, so as to achieve a higher unity.

His constant exploration of the natural world led him to find a mathematical model - the golden ratio.

This ratio, which often appears in sculpture and painting, was considered by Eisenstein to be "in the realm of proportion, the 'organic' is only the proportion of the golden section".

The ratio is approximately equal to 0.618, which is approximately 2:3.

Therefore, in the film "Battleship Potemkin", he sent the lowest point of emotions - Vakulinchuk to the Odessa ladder and the highest point of emotions - the plot of Potemkin raising the red flag was placed at the beginning and end of the third paragraph, respectively, on the two golden section points of the whole film.

In this way, Eisenstein wanted to achieve a high degree of structural unity and a high degree of organicity.

A high degree of unity between passion and organicity has always been Eisenstein's pursuit, organicity requires a high degree of structural unity, and passion requires a strong contrast on this basis.

According to Eisenstein, to reach the level of passion, the first is to choose to detach from the normal phenomenon to depict; the second is the force with which phenomena are treated into one like the other; The third is produced through rhythmic movements.

The first and second of these are based on organic structures, while the third requires movement within organic structures, and in practice, these three techniques are often used in combination.

For example, in the scene where the indignant crowd gathers in front of Vakulinchuk, the camera movement is slow at first, the expressions of the crowd in the camera are low, the movement is deep, the movement direction of the crowd taking off their hats is downward, and the eyes are also downward.

As emotions accumulated, the interval between shots gradually shortened, and with an upward look from the old woman, a mass leader began to raise his arms and start speaking.

After that, more and more upward movement began in the shot, the crowd waved their fists upward, and then the rhythm of the shot was very different from the previous one, rapid movement, fast editing, and the enthusiasm of the crowd seemed to overflow the screen.

This passion extends to the end of the passage – a red flag rises upward, thus reaching the highest point of passion.

From this passage, we can see: first of all, there are pictures of detachment, such as angry speeches and fists; secondly, it has an intrinsic strength, from a fist to a fist;

Finally, the change in the rhythm of the editing is created through the movement within the structure.

The film "Battleship Potemkin" consists of five parts:

—, "Man and Maggot", describing the hard life and inhumane treatment of the sailors on the battleship, the beef with maggots made the soldiers angry and became the fuse of the uprising;

2. "Tragedy on the Aft Deck", which shows that the sailors of the uprising are suppressed by officers.

The commander gave the order to shoot the rebels, and the priest came to pray.

The firing squad refused to shoot, and the insurgents took up arms and threw officers and medics into the sea.

The leader of the uprising, Sergeant Vakulinchuk, was wounded by the first mate and fell into the sea and died;

3. "Blood for Blood", which shows that the revolutionary masses in Odessa were filled with righteous indignation when they saw the corpse of Vakulinchuk, which was carried to the shore by motorboat, and expressed their solidarity with the rebel sailors;

4. "The Odessa Steps", showing the crowd greeting the sailors on the stone steps, the tsarist army rushed to shoot at the unarmed citizens, flesh and blood flew everywhere, and the sailors on the ship opened fire on the General Staff, destroying the main entrance;

5. "Combat readiness" indicates that the sailors of the naval fleet approaching from a distance are ready for battle.

The soldiers of the tsarist naval fleet refused to fire on their brothers, and the battleship Potemkin flew with red flags and sailed out to sea......

Through the use of a series of montages, Eisenstein narrated the language of the image, even if the stone lion sleeps, squats, and stands, it can also be used as a metaphor for sleeping, waking up, and even fighting.

The section of the "Odessa Steps" is a whole piece of GC.

In order to show the audience the brutality of the Tsarist Russian army, the innocence, panic and anger of the people, and the bravery and justice of the sailors, Eisenstein used more than 100 shots in just six minutes of footage.

The constant switching between the footage of the neatly armed army walking down the stairs and the panicked escape of the people strengthens the tension of the picture and the harshness of the slaughter, stimulates the audience's vision, exacerbates the conflict, and deepens the audience's impression.

Therefore, although the footage of the unarmed masses escaping is fleeting, the audience can still clearly remember the disabled person with a high amputee, the woman holding the child, the old man with deep wrinkles, and the panicked girl......

The shots of the soldiers shooting and the scenes of the victims falling down one by one switch to each other, so that the audience fully understands the brutality of the Tsar.

An old woman with a bloody face, a woman with a dying son in her arms, and an old man who dragged the corpse of his wife and son......

The most impressive thing is the insertion of the slipping shot of the stroller, which makes the picture more impactful and catches the audience's eye.

At the same time, I can also better understand the panicked, frightened scenes and contradictions of the masses in the film, and the people are extremely angry.

The period from 1924 to 1929 was the golden age of Soviet cinema, and a number of classics emerged, the most famous of which was Eisenstein's "Battleship Potemkin".

The film was shot in the southern Ukrainian city of Odessa with only a few professional actors, and its big scenes were completed with the participation of more than 10,000 citizens and the Red Navy.

The film uses a rich montage technique to give the picture a complex symbolic meaning.

Among them, the photography and editing skills of the "Odessa Steps" section have become "classics among classics".

Later, the British "Sight and Sound Magazine" film critics voted, and the battleship Potemkin ranked 7th in history.

The evaluation is:

[The film uses the exquisite structure and epic style of classical tragedy, with profound details and picture composition, as well as rhythmic film language, and poetic montage techniques such as symmetry, repetition, metaphor and symbolism.

Expressing sharp contradictions and major and distinct combat themes, this film marks the great progress of world film art and the further improvement of montage theory.

The climax of the massacre on the Odessa Stairs is one of the most famous scenes in film history, and the precision of the camera editing and the impact of the images have not diminished to this day.

The scene where the mother watches the stroller roll down the stone steps is particularly representative, and the later train station shootout scene in the American film "Iron Mask Selfless" is a tribute to this paragraph. 】

Indeed, the most famous passage in "The Battleship Potemkin" is the massacre of the tsarist army in the Odessa Steps.

In this six-minute and fifty-second passage, Eisenstein uses a variety of techniques such as mobile photography, subjective shots, and close-ups, and is widely praised for his excellent montage technique.

Since the discovery of the Kulishov effect, people have realized that the meaning of film is not limited to the camera, but is determined by the relationship between the camera.

However, there are different theories about the laws of assembly, among which the more well-known ones are Pudovkin's "connection theory", in which the similar motion of two shots produces a fresh meaning, and Eisenstein's "collision theory", in which two shots collide to produce a new meaning.

Regarding the difference between the two, Eisenstein once responded,

"As for the connection, in my collision it is only a possibility - a local case"

He pointed out that Pudovkin's "connection theory" was simply "an equilibrium motion of two small balls in the same direction in accordance with the measurement of a homogenizer" through the model of ball-to-ball collision in physics, and incorporated Pudovkin's theory into his own "collision theory".

In the Carnage segment, Eisenstein continues to hit violently from the first shot.

The massacre begins with a subtitled version of white on black that reads "suddenly," followed by a sequence of schoolgirls screaming.

This set of scenes is actually a collage of several scenes with dynamics, such a set of frightened expressions combined with pure black pictures creates a powerful enough impact to make the plot turn to a brutal massacre.

Later, with a subjective shot of a flicker before falling, the chaotic rhythm of the escape is vividly expressed.

Subsequently, in the passage of Mother and Child, the picture reads:

Running with the child, shooting, the child falls to the ground, keep going, the child shouts, keeps moving and turns, close-up turns, the child yells and falls, the mother yells, the child is overwhelmed by the crowd, close-up of the mother shouting, a group of people running over the stairs (no children in the frame), one foot walks in the child, the child is trampled on, close-up of the mother shouting, the mother shouting and approaching, a group of people running over the stairs (no children in the frame), a group of people running over the stairs and someone falling down (no children in the frame), a step over the child's foot and kicking the child away, A woman steps on the child after the child is kicked away, a close-up of the mother shouting, the crowd running over the stairs (there are no children in the picture), the mother walking in the crowd, the child is covered in blood, the people running, the mother picking up the child...

Among the 26 shots, there are only two scenes where the child is actually trampled: the child's hand is trampled by a leather shoe, and the woman's high heels are stepped on the child's belly.

After careful analysis of the lens, it can be seen that the stress point of the man's feet in the first shot is actually the steps in front of the child's palm, while the woman's feet in the second shot are not stressed, so they should be framed and filmed.

However, with the crowd of people crowding past and behind, a few feet passing over the child, the movement of the child rolling, the footage of many crowds running past the child, as well as the quick editing and the frightened face of the mother.

The audience all thought that this was a tragic incident of being trampled to serious injuries in a crowded crowd.

A more prominent montage is applied to the stroller section.

Accompanied by a subtitled version of "Cossacks", the massacre entered an even more frantic phase.

Historically, the Cossacks, known for their bravery and skillful warfare, have always been bribed by the tsar to serve as an important force, and the Cossacks also meant that the tsar threw powerful soldiers into the suppression of the people.

After the person next to the priestess was shot to the ground in a volley, a woman pushing a stroller appeared.

The face of a baby and the frightened look of the woman are enough to express the woman's protective heart for the stroller.

The shot immediately after the woman's expression after being shot is not the bleeding from the bullet site (as is the logic of ordinary people's perception of things), but a close-up of the baby's wheel about to roll down the stairs.

From the moment this close-up appears, it becomes a suspense whether the stroller will roll down the steps, and then this close-up is interspersed with the process of the woman falling to the ground, and this suspense continues until the woman falls to the ground and pushes the stroller to the ground.

At this time, the horror of the five priestesses is inserted in the two shots of the wheels rolling down the steps and the stroller sliding down the steps, which further exaggerates the tension of the stroller sliding.

As the stroller continued to slide, the priestess and another man had frightened and concerned expressions.

At this time, the strollers that fell in the massacre had lost their meaning and became the helplessness of the vulnerable people in the face of violence.

The passage ends with the overturning of the stroller, the ferocity of the Cossack cavalry, and the blood of the priestess, showing the powerlessness of the masses and the ugly face of the Tsar in the face of violence.

In the face of the massacre, the Potemkin responded to the enemy's atrocities with artillery.

Accompanied by the bombing, Eisenstein inserted a statue of a sleeping lion, a statue of a crouching lion, and a statue of a standing lion, and the three images were played in succession, as if the inanimate stone was also alive and stood up.

From slumber to standing, the power of the people is awakened at this time, just like these stone lions, and this power is also lions.

This set of classic montages has been hailed as a masterpiece of Eisenstein's rational montage.

Rational montage is a development of Eisenstein's theory of his own juggling montage, which aims to reach abstract ideas directly through the perceptual situation.

Based on this montage, Eisenstein even asked Karl Marx's Capital to be made into a film.

Although Li Yaoyang will not personally participate in the filming of the film, he also put forward his own ideas in a few meetings before the start of filming.

Using a large number of montage shots to render the atmosphere can also avoid the huge cost of a large number of war scenes as much as possible.

Yes, he didn't use montages to make a name for himself, purely to save money!

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