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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 tension of visual cuts that appear to work flawlessly takes away the audiences perception of time so long that it would have seemed longer in any other scene in any other movie.
However, the speedy progress of the scene with image alteration was a brilliant idea by Eisenstein, creating...…takes us into her head, her thoughts of her life which is thrilling to watch. 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…
Work Cited
Clark, Ashley. “Black Girl: Self, possessed.” Criterion, 23 Jan. 2017, https://www.criterion.com/current/posts/4402-black-girl-self-possessed
Blue Velvet, directed by David Lynch [...] mise-en-scene and cinematography in the film. David Lynch is a master of the film noir, dark and brooding types of films that disturb, disquiet, and titillate all at the same time, and "Blue Velvet" is no exception. The film is part blue porn flick, part girl-next-door love story, and part sadistic kidnapping, and yet the elements all blend together to form a
Clint Eastwood Films Client Eastwood Films Clint Eastwood is often hailed as an adept actor but his work as a director is also legendary. His directing goes back to the early 1970's when he started off with Play Misty for Me. Since then, there have been some extraordinary movies that are ensconced in movie history. These movies include Million Dollar Baby, Unforgiven, J. Edgar and others. The genres he touches on include
Nutcracker Ballet by Tchaikovsky is in the fairy tale genre in the classical ballet type. The overall theme of Act One, Scene One of the ballet is to set the stage of the story: it is Christmas time and the Christmas tree is being decorated. The characters are happy and joyous and looking forward to their time together. The music is crisp and engaging. The characters move about and dance
Film Still Analysis 1 The 400 Blows The mise en scene of Figure 1 from The 400 Blows shows two youths scattering a flock of pigeons in the streets of Paris. The centermost youth is the main character Antoine Doinel. He and the boy beside him and tramping through a city that is full of adults—but the adults are all in the backdrop, away from the action of the still but not
Women in Middle East The mise-en-scene of "Best in Show" In "Best in Show" it is the mise-en-scene which truly defines the film and in so doing created and develops the emotional effect on the audience. Of course, using a term like "emotional effect" seems slightly pretentious in terms of this movie -- the mockumentary is a clever spoof on dog shows and the human relationship to competition and relationship. The film
Alien Chestburster Scene Analysis Analysis of the Chestburster Sequence in Alien Ridley Scott's Alien (1979) is one of the most riveting and horrifying sci-fi film of the 20th century. While the film's title points to an unknown alien creature, the audience is not introduced to this threat until approximately 52-minutes into the narrative during the infamous, and one of the most recognizable sci-fi scenes of the film -- the chestburster scene. Despite