Analyzing the Narrative Composition of Battleship Potemkin

 Analyzing the Narrative Composition of Battleship Potemkin Article

п»їAnalysing the Narrative Framework of Battleship Potemkin

Sergei Eisenstein's seminal 1925 film, Battleship Potemkin, is often viewed as one of the greatest silent motion pictures ever made, and as perhaps the finest example of a propaganda video in history. Eisenstein's film tells the story of the mutiny on-board the Battleship Potemkin, a historical event which came about in 1905. The work is seen to provide a great example of a film that uses an unusual story structure the moment judged by today's criteria of theatre. The representative employs many imagery and narrative tactics which help to make a vivid, striking picture in the mutiny on the Potemkin, an image planned by Eisenstein to remain inside the mind after the film ends.

Probably the most immediately apparent aspects of the film's narrative structure can be obtained from its split in to your five distinct shows, each with its own title and each that may occur to a clearly distinguishable set of occasions that progresses the story with the film. Since the film is quiet, the different attacks are interspersed with subject cards detailing the brand of each episode, with every single title giving a clear and easily discernible idea of the situations to follow. For instance , the premier, in which the sailors protest against being made to eat rotten beef, is named " Men and Maggots”. The division of the film in these five acts makes sure that the narrative of the film progresses by a steady tempo, with every single act seemingly anticipating the actions of the doj of the subsequent. As the inspiration for the storyplot is put in the sailor's refusal to have rotten meats in the 1st act, the events of the second episode, titled " Theatre on the Quarterdeck”, in which the sailors mutiny, is visible to be a immediate consequence from the events in the first. All these episodes could be seen as a smaller narrative in itself that fits in to one overarching meta-narrative, with clear regards between them. The film's five episode framework can be seen to deal with resemblance for the construct of the classical tragedy. Battleship Potemkin's first episode relatively mirrors the standard prologue of classical misfortune, in which the tragedy's topic is usually presented and the core topics of the function are brought up. (pg. internet) In " Men and Maggots”, the inspiration of the account is laid as the setting and reasons behind the sailor's mutiny are brought to light.

The film's story is also unusual in its not enough a single leading part who is followed throughout the film. Rather than centering on a single personality, the film instead areas emphasis on a big group of personas, namely the sailors on the Potemkin (pg. 178 corrigan). Whilst some characters focus on more than other folks, such as the ship's doctor or Vakulinchuk, the de-facto head of the uprising, these character types cannot be considered as protagonists with the film. These kinds of characters instead seem to represent certain ideologies or significant viewpoints that can be found in the film. For example , even though Vakulinchuk is a member of the uprising that may be seemingly many focused upon, the story does not stick to him since the viewer does not see the film by his point of view, thus this individual does not contain the role in the protagonist, nevertheless more seems to stand like a symbol from the revolution and uprising. This kind of notion is definitely further compounded when he can be killed in the mutiny, plus the character of Vakulinchuk turns into something of any symbolic martyr for the source, as can always be noted in the scenes found in the third instance of the film, " A Dead Man Necessitates Justice”. This kind of scene greatly implements the thought of montage, slicing to the mourning faces of sailors and civilians alike, driving the narrative simply by illustrating the pain due to the actions of the Tsarists by eliminating Vakulinchuk. Even though Vakulinchuk is usually seemingly a symbol for the revolution, additional characters, such as the ship's doctor, can be seen to operate a vehicle the narrative by addressing the makes of the oppressive bourgeoisie. Inside the...

Cited: The Battleship Potemkin. Dir. Sergei Eisenstein. Mosfilm, 1925.

Betancourt, Michael. В Structuring Time: Paperwork on Making Movies. D. p.: Wildside, 2004. Printing.

Chatman, Seymour Benjamin. В Story and Talk: Narrative Framework in Fictional works and Film / by Seymour Chatman. В Ithaca, NYC: Cornell UP, 1986. Print.

Corrigan, Timothy, and Patricia White. В Film Experience: An intro. New York, NYC: Bedford/St. Martins, 2009. Printing.

McManus, Barbara F. " Outline of Aristotle 's Theory of Tragedy. " В Outline of Aristotle 's Theory of Tragedy. College or university of New Rochelle, Nov. 1999. Web. almost eight Jan. 2013.


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