The Battleship Potemkin is one of Eisenstein’s most popular films which include Soviet Montage to create concepts and ideas through the use of metric, rhythmic, tonal, over-tonal editing and Intellectual montage. Eisenstein believed that a proper combination of the five theories of montage would evoke a deep emotional response and psychological connection with the audience. As I watched his film, I have examined how he used these five montage techniques, lighting, and sound to create tension throughout the film. Metric montage is “cutting strictly by a set number of frames per shot, regardless of the action depicted.”(WVU College of Creative Arts, School of Theatre & Dance) Shots of equal duration are edited together and varying the length of the shots with respect to the original meter creates tension. An example of metric montage in Battleship Potemkin is the scene following the intertitle “In deep sleep after the watch.” There are seven shots of sleeping sailors shown in about three seconds each. As the officer comes down and shows his anger to a young sailor, Vakulinchuk calls for action with steady and emotionally charged arm gestures. This scene is a great example of a transition from metric montage to rhythmic montage. The rhythmic montage is “based on the rhythms of the action depicted or (once sound arrived) on a musical or dialogue tempo.” (WVU College of Creative Arts, School of Theatre & Dance) In this scene the rhythm of a song start with slower and smooth tempo as it shows sailors that are sleeping and then gets faster and louder as Vkulinchuk calls for action. Both the metric and rhythmic montage works together in this scene to create tension and elicit a visual and emotional response from the audience. The tonal montage is working through the tone or “emotional life” of the characters for maximum effect on the audience. The tonal montage can be seen on a scene where Vkulinchuck’s dead body was brough