这部电影包含了事件的真实历史事件的重要许可，艾森斯坦和他的政府支持者都做出了改变，以支持当时的布尔什维克政权的方式来描述局势。例如，在现实中，水手们被捕获并被监禁，艾森斯坦与水手们一起在阶级团结的战斗口号中结束了电影，而不是被关进监狱。艾森斯坦还使用了各种各样的电影设备来强化他的主题，无论历史的准确性如何。他在敖德萨(Odessa)的一系列台阶上对平民进行了屠杀，并对枪支和脸部的特写镜头进行了特写，并对平民和攻击士兵的场景进行了描述，以描述沙皇军队屠杀平民的场景。这部电影在海外获得了巨大的成功。欧洲和美国的观众和评论家都对这部电影的现实主义和电影制作的第一印象印象深刻。Eisenstein是第一个使用编辑器来编辑明显不相关的图像，以创造快速和动态变化的节奏，并压缩和扩展物理动作，而不是简单地作为一个讲故事的装置。这部电影的新闻风格是外国评论家称赞的另一项创新。美国国家审查委员会在当时报告了这一历史事件的忠实再现，并尽可能地将官方记录的事实的文字记录和复制品尽可能地粘在一起，而这些事实从来没有在电影中出现过。有趣的是，大多数美国观众认为波将金是为了庆祝自由和解放，而不是支持特定的政治议程.
澳洲经济学论文代写:被捕获并被监禁
The film included significant license with the actual historical events of the incident, as Eisenstein and his government backers both made changes to portray the situation in a way supportive of the then-current Bolshevik regime. For example, whilst in reality the sailors were captured and incarcerated, Eisenstein ends the movie with the sailors in a rallying cry of class solidarity, rather than being herded off to prison. Eisenstein also used a variety of cinematic devices to reinforce his theme, regardless of historical accuracy. He staged the slaughter of civilians by the Cossacks on a series of steps in Odessa, undercutting close-ups of guns and faces with scenes of fleeing civilians and attacking soldiers to depict the slaughter of the populace by the czar's troops. Overseas the film was a rousing success. European and American viewers and critics alike were impressed with the realism of the film and its filmmaking firsts. Eisenstein was the first to use editing to juxtapose apparently unrelated images, to create rapid and dynamic shifts in rhythm, and to compress and expand physical action rather than function simply as a storytelling device. The newsreel-like style of the film was another innovation praised by foreign critics. America's National Board of Review reported at the time the faithful reproduction of this historical event by adhering as much as possible to a literal transcription and reproduction of officially documented facts Nothing approaching the reality of these scenes has ever occurred in cinematicsbefore. Interestingly, most American audiences regarded Potemkin as a celebration of freedom and liberation, rather than a support of a particular political agenda
