Both Sergei Eisenstein’s Battleship Potemkin that featured the USSR in 1952 and Gillo Pontecorvo’s The Battle of Algiers that focused on Algeria in 1966 are some of the renowned revolutionary films (Rosenstone, 2002). These films were produced after the occurrence of revolution in the countries. Goskino, the USSR State Committee for cinematography developed The Battleship Potemkin while Casbah Films managed by Saadi Yacef, produced The Battle of Algiers.
The films entail of a stage that focuses on revolutionary struggle of battles that were lost. These were essential in the development of a new collective identity and also marked the historic activities that occurred during the period. However we note that despite propagandistic objectives, the films entail of a wide variety of interpretation. The revolutionary films have a fundamental characteristic that focuses on the anti-colonial liberation movements. This develops through a sense of self-assurance and definition of their culture after many years of colonial rule (Rosenstone, 2002). Revolution films are termed to be stocktaking; they have the ability of creating a clear perception of its reflection to the society. This is evident in the scenario where the people protesting in Cair Tahrir square identified themselves on the videos that were projected on large screens in their camps.
According to Battleship Potemkin, Sergei Eisenstein depicts the prior revolution of the Russians that occurred in the year 1905. This was a film that was highly recommended by many individuals. The viewers were captured by the creativity of the film even with the occurrence of the Cold War since it entailed of a mutiny based in czar’s naval vessel. The film focused on a exhilarating description based on combined revolution and a virtual subject describing how the editing of the film executed excitement, sympathy and revolutionary anger. The themes of the film are