Imagine a grand stone staircase (consisting of 200 steep steps and divided by just under a dozen landings) built into the side of a hill in Odessa, Ukraine. Now imagine the Cossacks coming down the steps (in a slow, steady march) with weapons drawn and aimed at countless civilians. Cossacks shoot a little boy who is then trampled by fleeing civilians, while his mother watches, helpless and hopeless, in horror. At the first opportunity, the mother lifts her baby and holds him in her arms. At this moment she is the only one noticeably walking towards the Cossacks. The mother asks the Cossacks for help and they shoot her to death. A few civilians regain the courage of their convictions and attempt to walk towards the Cossack fire. A young mother attempts to protect her crying baby in her carriage, while a grandmother (hiding nearby) gathers her family to try to reason with the Cossacks. The young mother is shot and as she falls to her death she falls against the carriage, sending her baby down the stairs. The grandmother is hit by a bullet in the eye (The Battleship Potemkin, 1925). Looking at the scene entitled "Odessa Staircase" from Sergei Eisenstein's film, Battleship Potemkin is more reminiscent of a scene from Coppola's The Godfather or Tarrentino's Pulp Fiction, not a silent film from 1925. Sergei Eisenstein was a Russian director, born in Riga ( now Latvia) in 1898 (Hoobler 75). Eisenstein is considered the innovator behind the editing style of films ("Sergei Eisenstein Died in Moscow", New York Times, 1948). Eisenstein's most popular works include: Strike, Battleship Potemkin, October, Alexander Nevsky, and Ivan the Terrible (Hoobler 77-80). To this day, Eisenstein is held in... middle of the paper...seemed not as important as the fact that he developed new techniques, devised approaches to the camera and always sought to bring out the potential of a form still in way of development. The fact that he forgot - or neglected - to convey the Marxist message in one of his films two years ago earned him that fatal kiss: the accusation of the authoritative Soviet. magazine Culture and Life, that his productions did not meet the prescribed Soviet requirements in terms of art and interpretation of history” (“Sergei Eisenstein Dies in Moscow,” New York Times, 1948). In cinema, Eisenstein was known for his development of the montage sequence, his unusual juxtapositions and his realistic images. In life he was known for his propaganda and belief in the plight of the working class. Eisenstein left an inescapable mark on his community, his time, the form of a subculture, and his art.