11/15/2023 0 Comments Soviet montage cinemaWhat is he? He is a kindly man, a sympathetic character.” - Alfred Hitchcock Now we cut back to a reaction to what he says, and he smiles. Let’s assume he sees a woman holding a baby in her arms. “Pure cinematics … the assembly of film and how it can be changed to create a different idea. Here’s how the ‘master of suspense’ described the theory on the CBC television series, Telescope - A Talk with Hitchcock, in 1964: Alfred Hitchock on the Kuleshov Effectĭirector Alfred Hitchcock famously described the Kuleshov Effect during his interviews with French New Wave auteur François Truffaut, and again in an interview with Fletcher Markle. Kuleshov theorised that this must be the fundamental basis of cinema and cinematic editing as its own art form. They viewed his expression as a reaction to the other image, enabling them to take a separate meaning to his acting based on the contextual information. Although Kuleshov was re-using the same expressionless shot of Mosjoukine in conjunction with other images (for example, a bowl of soup or a girl in a coffin), the audience derived different meanings for each composition. Kuleshov edited an expressionless close-up of the actor with a series of contextualising shots. To demonstrate this, Kuleshov made a short film starring actor Ivan Mosjoukine in 1918. In fact, the interaction between shots can change the meaning altogether. The basic principle of the Kuleshov Effect is that the audience derives new interpretations from composition and sequence. Other notable Soviet Montage Movement directors included Dziga Vertov and Vsevolod Pudovkin.The Kuleshov Effect is an editing effect initially demonstrated by Soviet filmmaker and film theorist, Lev Kuleshov. The Acts were entitled Men and Maggots, Drama on the Deck, A Dead Man Calls Out, The Odessa Steps, and One Against All. The story was told in five acts and focused on the 1905 incident where the crew of the ill-fated ship mutinied against its officers. Perhaps the greatest example of the Soviet Montage movement was the film the Battleship Potemkin, directed by Sergei Eisenstein. It relied on images rather than words on title cards.įurther exploration of the Soviet Montage Style and how it affected filmmaking throughout the ages can be found below: Influential Soviet Montage Movement Directors While American film would stick closer to the script, Montage directors and theorists preferred, as one writer referred to, as a “collision of images” to achieve meaning. Without getting too far into the weeds, Montage’s theory brought a set of rules and structures to film. Soviet Montage Movement Film Characteristics It also served to create a clear distinction between American and Russian filmmaking styles. Moreover, though, Montage created a cinematic language that helped overcome the illiteracy of the Soviets at the time, using images rather than words, in order to adequately communicate the precepts and the ideals of the Communist Party. “A Dialectic Approach to Film Form that to determine the nature of montage is to solve the specific problem of cinema.” While the most notable director in the Soviet Montage Movement was director Sergei Eisenstein, the chief architect of this movement was director Lev Kuleshov. This cinematic device originated during the Silent Film Era as part of a movement called the Soviet Montage Movement. This is what is referred to as a Montage, which is French for assembly or editing. Everyone who has ever seen a movie has at some point in time, seen a section of films were a series of shots that indicate actions over a span of time, usually without dialogue.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |