Comparing 'Andalusian Dog And Battleship Potemkin'

The difference between those two films is the surrealism in An Andalusian Dog and the realistic style in Battleship Potemkin. For example, a surrealism sequence from An Andalusian Dog. The sequence begins after the stranger in a suit and hat enters the cyclist's room, pulls off the cyclist's drag garb and box and throws them out the window, then orders him to stand facing the wall with his arms up as if on a crucifix. The title reads, “sixteen years earlier,“ and as the stranger turns to leave, we find that he is a spitting image of the cyclist. He spots some books scribbled upon by ink, walks over, closes the books, and holds them to his chest with an air of disapproval. He returns to the cyclist, still standing by the wall, and hands him the books, shaking his head as if in disappointment. After he turns once again to leave, the cyclist suddenly spins around with a glower on his face, and the books in his hands become guns. The doppelganger turns to face the cyclist with a hurt look, but the
The doppelganger's eyes roll back and he begins his slow-motion collapse, but falls in a meadow by a gentle lake, next to a nude woman who sits with her back facing the camera. He reaches out and tries to clasp her, but his fingers claw down her bare back, and he falls as the woman vanishes. (Goto) The realism in Battleship Potemkin is not normal classical realism that uses continuity editing. It is using disconuity editing to create realism. Eisenstein doesn’t seem to be interested too much in this dimension of time. For example how Eisenstein manipulates one’s perception of time in the Odessa steps sequences, by stretching out the crowds running down the steps for seven minutes, several times more than it normally would