he was trying to deliberately create these time-forms by drawing from myth. And this use of time is directly related, as will be obvious to you, with space. Vivan mentioned the juxtapositions, and wondered as to what they achieved. I should like to mention my personal impressions. I think that the film, right through, captures a certain almost archetypal quality in the faces of the people. It is obvious that the extremely harsh light in the film is not naturally present there. That light was therefore created, through the use of reflectors or through other devices. That kind of harshness in a way emphasises the stark environment. But then there are times when this light is moulded, almost, to create a tremendous tenderness in even very brutal scenes. Through the lensing he will dynamise, and nowhere in his takings will he ever reduce the brutality, but then he establishes countradictory tensions though what I have called moulded lighting. And that is what individuates, humanises the stark figures in the beginning of the film. Vivan Sundaram I did feel that there was a certain limiting literariness about those juxtapositions, they were cast in exactly the form that the original architectural forms displayed. Then, when this gives way to the lives of the common people, he uses an impressioniatic style which is really so out of character with whatever one has seen of Eisenstein. This rippling, reflective, impressionist painting style seemed very obvious in the contradictions they seek to establish vis-a-vis the monumental. Arun Khopkar To begin with, there is no point in speaking of the film as though it were a finished film. What we have are only a series of shots, and even their length is in many ways undetermined. But let me give you an example from Battleship Potemkin itself to illustrate how montage in editing can transform the niaterial entirely. This mist sequence, if you were to see it by itself, would have this very impressionistic, rippling quality. But the point is how he so violently breaks that effect with all that follows. The length of the shot in itself provides a time-scale that comes against the use of time within the shots. That instance when the projectionist of Potemkin slowed the film and the lions got up gingerly instead of leaping up, to create the reverse effect, shows how time in the length of the projected shot is as important as anything else. Journal of Arts and Ideas 67