Cinematographic Montage and Memory

Abstract

The method developed by Serguei Eisenstein, through which he succeeds in linking and giving meaning to a series
of cinematographic shots, highlights the importance of editing, insofar as it allows us to reveal sensations and
affectations, that is, a pathos that refers to interests vitals, fears, desires and nostalgia for different
places and times that burst forth in a brilliant way in the form of an image. In terms of memory, there is
similarly a montage of images, by means of which the past is represented. Therefore, this article develops
some reflections about the film El acorazado Potemkin, and in turn raises the possibility of transferring a
series of characteristics of the Eisenstenian montage to memory processes.