On Thu, 24 Aug 1995 02:49:00 -0400 Renata Jackson said:
>to the gentleman who recalled a "jump cut" in the Odessa Steps sequence of
>POTEMKIN -- in the print i have on tape, there is no such sequence of images:
>what we see is two shots (with slight change of angle and shot distance; the
>second is an extreme close-up) of a cossack raising his sword repeatedly --
>cut-- close-up of the woman in the pince-nez, now shattered and her face
>bloody.
>-- [log in to unmask] (Renata Jackson, NYU Cinema Studies)
>
[snip]
 
So much for depending on memories; mine was no better than Eisenstein's
in this case.  In a 1929 article (about five years after the release of
POTEMKIN) Eisenstein wrote that he juxtaposed two substantially similar
shots: "Woman with pince-nez.  Followed immediately--without transition
--by the same woman with shattered pince-nez and bleeding eye."
 
Numerous copies of POTEMKIN have been examined by various scholars (as did
Renata Jackson).  Regardless of other discrepencies in prints from
archives all over the world the two shots referred to by Eisenstein (and me)
are always separated by intervening shots.
 
This lapse on my part should not divert attention from my basic point about
the value of Eisenstein's writings in dealing with contemporary editing,
in contrast to the application of Pudovkin's writings to Classical Cinema
of the industrial era of film production.
 
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