Abstract

Sergi Eisenstein's Potemkin provides a powerful example of how a film can present a revolutionary and socialist political perspective and ideology. A thoroughly modernist film, Potemkin is highly innovative in form and is often taken as a model of editing; it has regularly appeared on many lists of the greatest films of all time and since its release in 1925 has been a major critical success. Formally, the film embodies Eisenstein’s theory of montage, that the juxtaposition of images can generate meanings and on the level of ideology, the film serves as effective propaganda for the Bolsheviks.