Types of Montage in Research Eisenstein's film Battleship Potemkin

Student’s Name
Professor’s Name
Course
Date
Types of Montage in Battleship Potemkin
Sergei Eisenstein introduced the montage theory. Montage entails combining depictive shots that have neutral content into intellectual series and contexts. Specifically, montage theory is characterized by a belief and conflict that a particular concept arises from the juxtaposition or collision of two factors that oppose each other. The paper discusses five types of montage as depicted in 1925 Eisenstein’s movie Battleship Potemkin. 
Metric
Metric montage entails the juxtaposition of movie shots through which the fundamental criteria is the exact measurement of film fragments. These shots are brought together mathematically using their actual length based on a metric formula. Eisenstein’s Battleship Potemkin uses a metric montage in the scene “meeting the squadron.” At this juncture, Eisenstein shows various shots of rotating camshafts in an increasing tempo and the plunging ship engine pistons that are intercut with other shots of orders given from a bridge (Eisenstein). Smoke is seen billowing from ships’ stacks. Besides, accelerating the cutting rate increases the tension as the Potemkin gets closer to the squadron. 
Rhythmic
A rhythmic montage involves cutting based on the content of shots. The film fragment length is not determined by a specific formula, but the length is derived from the content contained in the shot. The conflict between the movement and the length of shots can create tension. Eisenstein uses rhythmic montage in the scene where a train is seen speeding and a car chase (Eisenstein). As such, compositional decisions are made that determine how a shot is played before another one appears or intercut.
Tonal
Tonal montage is the cutting done based on...