![]() ![]() Interweaving the shots is what gives it meaning. If only policemen running were shown the scene would make no sense to the audience, and the same goes for the other subjects in the scene. Police chases are often composed in cinema by interweaving scenes of police and outlaws which are shot apart. Kuleshov’s technique is responsible for allowing editors to better control the tone and meaning found in their films, conceiving montage as an expressive process without which no meaning could ever have been found in cinema, making it art with little to no ideological or symbolic force.Īn example of how this technique is so deep-seated within our minds through the process of watching movies lies in chase scenes. Thus was born the concept of editing as a means of locating subjects in time and space in order to create something with meaning and intention. The professor named the phenomenon the “Kuleshov effect”, explaining that images carry different values if looked at alone or in conjunction with other images. To the audience, the actor’s face would acquire a different expression after each image he saw – hunger, grief, and desire respectively– even though the exact same shot of the actor was shown after each take. The filmmaker’s most well known experiment is a short movie in which he intercuts the same shots of an actor’s face with several different shots – a bowl of soup, a dead girl, and a beautiful woman. As the leader himself said, the Soviet Union would come to believe that “cinema is for us the most important of the arts”, which would lead to the founding of the “All-Union State Institute of Cinematography” – the VGIK.Īt the institute the history of cinema as we know it today began, particularly with professor Lev Kuleshov. ![]() To Lenin, film became a propaganda tool whose power of quick and effective communication had the capacity to organize all audiences into understanding concepts that were fundamental to the development of the union. The history of Soviet cinema starts with that of the USSR, in 1917, when the socialist Vladimir Lenin and other Bolshevik leaders began looking at cinema as a tactic to unify the nation. The early 1900s film school that was created in the newly formed Soviet Union is today recognized as one of the most important movements in all of cinema history, pioneering techniques and the ideals fundamental for filmmaking as an art medium and mass communicator. Odds are, if you study film or would like to be a filmmaker, you have learnt about many of the theories of Soviet filmmakers such as Eisenstein’s dialectical montage or the Kuleshov effect.
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