1905. The battleship Potemkin. Directed by S. Eisenstein. (Lavinsky A.) Soviet Posters (1917-1941)

The poster presents a striking visual narrative centered around a single figure and framed by elements suggestive of industrial power and revolutionary fervor. Here we see a young man, his face contorted in a scream or cry, dominating the foreground. His posture is one of intense emotional distress; he appears to be leaning forward, as if propelled by an internal force. The stark contrast between the pallor of his skin and the dark shadows emphasizing his features amplifies the sense of anguish. He wears what seems to be naval attire, hinting at a connection to maritime authority or perhaps rebellion against it.
Behind this central figure, the upper portion of a battleship looms large. Its gun turrets are rendered in a stylized manner, appearing almost as mechanical eyes observing the scene below. The repetition of these circular forms creates a sense of oppressive surveillance and industrial might. Text is integrated into the design; Гордость (Pride) appears prominently above the ship, while “Советского кино” (Soviet Cinema) is positioned alongside it. This juxtaposition suggests an attempt to link revolutionary ideals with the power of Soviet film production.
The lower portion of the poster features a bold, angular typographic arrangement of what seems to be the title of the work. The use of sharp angles and fragmented lines reinforces the overall sense of disruption and upheaval. The year 1905 is displayed in a similarly dynamic fashion, anchoring the narrative within a specific historical context – likely referencing a period of unrest or revolution.
The color palette is limited to red, black, white, and yellow, contributing to the poster’s dramatic impact. Red, often associated with revolution and sacrifice, dominates the composition, while black provides stark contrast and emphasizes the severity of the depicted events. The overall design conveys a sense of urgency and emotional intensity, likely intended to evoke empathy and inspire action within its audience. It is clear that the artist aimed to create not merely an advertisement but a visual manifesto embodying the spirit of revolutionary cinema.