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Week 3 Reflection - Jose Barragan

Jose Barragan reflects on Sergei Eisenstein's 'Battleship Potemkin,' emphasizing its exceptional visual storytelling and the impactful use of score to evoke emotions. He highlights the stairs scene as a key example of how tension is built through visuals and music, creating a sense of urgency. Barragan also notes Eisenstein's dialectical montage technique, which employs sharp cuts and contrasting shots to convey complex emotions and themes without dialogue.

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13 views2 pages

Week 3 Reflection - Jose Barragan

Jose Barragan reflects on Sergei Eisenstein's 'Battleship Potemkin,' emphasizing its exceptional visual storytelling and the impactful use of score to evoke emotions. He highlights the stairs scene as a key example of how tension is built through visuals and music, creating a sense of urgency. Barragan also notes Eisenstein's dialectical montage technique, which employs sharp cuts and contrasting shots to convey complex emotions and themes without dialogue.

Uploaded by

jobarr06
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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‭Jose Barragan‬

‭Professor Weinstock‬

‭World Cinema Movements‬

‭February 14th, 2024‬

‭Week 3 Reflection‬

‭Sergei Eisenstein’s‬‭“Battleship Potemkin”‬‭is an exceptional‬‭case of visual storytelling,‬

‭especially how he uses the score to evoke or amplify the emotion or feel of a scene. The scene‬

‭that truly benefited from this was the stairs scene where tension was built up through visuals and‬

‭amplified by the score. During this entire scene I felt nothing but unease and anxiety as the music‬

‭and visual movements kept speeding up with abrupt cuts really making the scene evoke a sense‬

‭of urgency and stress. While at some points in the film it felt relatively slow I believe it was in‬

‭order to really feel what the characters were essentially feeling, in those slower scenes it feels‬

‭more depressing and cold which is reflective of the characters situation. Also using these two‬

‭contrasting feelings to really highlight important scenes like the stairs scene to really let the‬

‭audience know to pay attention as the tone and visuals shift with its tone. Overall I found the film‬

‭slow at points but I think that was intentional, the film's ability to make the audience feel such‬

‭strong emotions that parallel that of the scene without dialogue rather relying on score and shots‬

‭is truly impressive.‬

‭Eisenstein’s editing and mixing style seems to be based in dialectical montage, which is‬

‭shown in his inputting of contrasting shots. He uses sharp cuts instead of typical smooth‬
‭transitions and relies on the viewer's observance to really string scenes together to create a‬

‭cohesive understanding of the scene. The juxtaposition of this dialectical montage is seen where‬

‭in one shot there are people frantically running and cutting that scene between shots of soldiers‬

‭moving in uniform, highlighting the control and hysteria in the same shot, which utilizes the‬

‭concept of parallel action as well.‬

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