Battleship Potemkin by Sergei Eisenstien and Black Girl by Ousmane Sembene
In the movie Battleship Potemkin, Eisenstein used the filmmaking technique called tertium quid, representing the connection of individual scene parts to create a bigger picture. It was not only about the combination of the images but also the message to be disseminated to the target audience.
Based on montage theory, the development of suspense and rhythm created rationality in which concepts and linkages seemed to be connected impeccably. For instance, in the historical scene of Odessas steps sequence, the distinct individuality of the moments that came out as fear and terror was shown in a sequence not thought of before. The emotional climax was developed with the help of montage and is an example of mise-en-scene in the history of cinema.
The jump cuts showing thematic stiffness between people flowing up and down and throes falling from the Odessa stairs was a visual experience. The stretching of a seven-minute scene with the...
This is where the audience knows that it is her story and a dramatic imposition of a monologue in French for giving powerful contextual existence to Diouanas
character.
The form and style of both movies point to the same narrative: making linkages of the social forces that enable the rising of the human behaviors so explicit, controlled marvelously by the directors through several editing tactics. Overlapping editing, jump cut, montage, and enlargement of active tension have been used shrewdly to create a larger impact for the audience in the cinematic times when movies like…
