Soviet Montage Cinema (1910s-20s) SERGEI EISENSTEIN (1899-1970) Viewed montage as the basis of cinema Juxtaposition of contrasting elements Constructivist emphasis upon mechanistic assemblage Montage of attractions “Objects in collision, producing an explosion that would arouse the viewer” Pavlovian theory: Controlled orchestration to mold and manipulate the audience Soviet Montage Cinema (1910s-20s) LEV KULESHOV (1899-1970) Experiment: shots of woman in coffin, bowl of soup, and a child-inserted between same shot of a man Audience will bring their experiences to a film to try to make sense out of apparently unrelated images Audience does not visualize “C” in his/ her mind-assumes that the actor is actually conveying that emotion West in the Land of the Bolsheviks From “filmed plays” to an “assemblage of images” Kuleshov effect: montage editing Meaning of a particular shot determined by its relation to adjacent shots Viewer sees A then B, thinks C Soviet Montage Cinema (1910s-20s) LEV KULESHOV (1899-1970) 1924: The Extraordinary Adventures of Mr. Introduction to Film Theory Cinematic Realism vs. Montage Editing."- Presentation transcript: It emphasized the power of editing to create meaning and convey political messages, and it was influential in the development of modern film language and style.Presentation on theme: "Introduction to Film Theory Cinematic Realism vs. In summary, Soviet Montage was a film theory and technique developed in the Soviet Union during the 1920s that revolutionized the way films were made and perceived. Additionally, the montage techniques have been adopted by other art forms like music videos and advertising, which also using editing to tell a story or create a specific mood in the viewer. For example, the French New Wave and the Italian neorealist movement use montage and other techniques from Soviet montage for their own artistic and political purposes. The use of montage and the emphasis on editing as a means of creating meaning and evoking emotion have been adopted by filmmakers from many different countries and backgrounds. The theory of Soviet Montage was influential not just in Soviet cinema, but also in the development of the modern film language and style worldwide. This idea was in contrast to the dominant Hollywood mode of filmmaking, which emphasized a more linear and narrative-driven storytelling. Soviet filmmakers believed that audiences were not passive receivers of the film's message, but rather active participants who constructed meaning through the process of watching the film. Soviet Montage also emphasized the importance of the audience's active participation in the film-viewing experience. The film used montage to convey the idea of a ship's crew rising up against their oppressive officers, making it a powerful political statement. By intercutting shots of the ship's crew, the officers, and the ship's machinery, the film creates a sense of growing tension and inevitability of the revolution. Eisenstein's film "Battleship Potemkin" is one of the most famous examples of this technique. One of the main principles of Soviet Montage was the concept of "collision," in which seemingly unrelated shots are edited together to create a new meaning. They believed that by carefully selecting and editing together different shots, they could create a new meaning or provoke a certain emotional response in the viewer. Soviet filmmakers of the 1920s, such as Sergei Eisenstein, Dziga Vertov, and Vsevolod Pudovkin, believed that the power of film lay in its ability to manipulate the viewer's perception of reality through the use of montage. One of the key ideas of Soviet Montage is the use of editing to create meaning and convey political messages.
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