produce a new idea (synthesis). The result empha-
sizes a dynamic juxtaposition of individual shots
that not only calls attention to each of these shots
but also forces the viewer to reach conclusions
about the interplay between them. This “montage
of attractions,” as Eisenstein called it, presents
arbitrarily chosen images (some of them independ-
ent of the action) to create the maximum psycho-
logical impact. Thus conditioned, viewers would
have in their consciousness the elements that
would lead them to the overall concept that the
director wanted to communicate. Artfully handled,
of course, this is manipulation of the highest order,
propaganda created to serve the Soviet state. The
purest, most powerful example of this approach to
filmmaking is Battleship Potemkin(1925).
Eisenstein’s Battleship Potemkinis one of the fun-
damental landmarks of cinema. Indeed, it has
become so popular from screenings in film-studies
courses that, over the years, its ability to surprise
has diminished. Nevertheless, it is essential to
know why it is important to film history. The movie
depicts two events—the 1905 workers’ mutiny on
the Potemkinand the subsequent slaughter of ordi-
nary citizens on the Odessa Steps—and, through
its dramatic reenactment of those events, provides
a successful example of revolution against oppres-
sion. Overall, the film’s classic five-part structure
emphasizes the need for unity in such struggles,
but it is the “Odessa Steps” sequence that most
people remember, even though its impact may
lessen when seen out of context, as it so often is.
The sequence, set in Odessa on the wide steps that
lead from the town to the harbor, depicts czarist
troops brutally killing ordinary citizens, who are
celebrating the successful mutiny on the Potemkin.
Indeed, although the mass is the protagonist, it is
the individual faces that we remember. The movie’s
brutal form (jump cuts and montage editing) per-
fectly matches the brutality of the massacre. Many
directors have been influenced by Eisenstein’s the-
ory of montage; some pay homage to the “Odessa
Steps” sequence, and others spoof it.
Battleship Potemkinis a great film not only
because of its individual elements—the depth of
Eisenstein’s humanity, the historical and social sig-
nificance of its story, the formal perfection of its
rhythm and editing, and its worldwide influence—
but also because of the synergy by which each of
these elements is enhanced by the others.1927—1947: Classical Hollywood
Style in Hollywood’s Golden Age
The golden age of Hollywood, the most powerful
and prolific period of film history yet, included the
transition from silent to sound production, consoli-
dation of the studio system, exploitation of familiar
genres, imposition of the Motion Picture Production
Code, changes in the look of movies, and the eco-
nomic success of feature-length narrative films. Yet
it was less a movement than a force, for in this
period, the movies became inextricably linked with
the development of American culture and society.
From this point forward, the movies defined Amer-
ica, and America defined itself through the movies.
(The formidable technological and organizational
challenges that enabled these achievements are
covered in Chapter 11.)450 CHAPTER 10FILM HISTORY
The beginnings of a revolutionIn the first part of
Battleship Potemkin(1925), Sergei Eisenstein steadily builds a
case for the crew members’ discontent with their lot—a
discontent that will lead to violent revolt. Among other
things, the sailors are unhappy with the ship’s food. In this
image, they examine a slab of the rotten meat they are
forced to eat: “We’ve had enough rotten meat. It’s not fit for
pigs.” Although the meat is crawling with maggots, the ship’s
doctor tells them that it will be edible if they just wash it off.