Soviet Cinema in the 1920s Vibrant film culture after Russian Revolution Lenin cinema would be the most important art in the effort to reunite his nation power to attract and instructindoctrinate ID: 649803
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Slide1
Soviet
Montage
1924-1930Slide2
Soviet Cinema in the 1920sVibrant film culture after Russian RevolutionLenin: cinema
would be the most important art in the effort to reunite his nationpower to attract and instruct/indoctrinate
Influential developments in film
theory:
Character and Society
Education/Propaganda
The
Kuleshov
Effect
Montage EditingSlide3
Soviet Film Theory: Character and SocietyDownplay
individual characters characters are shown as members of society and of different social classesSlide4
Soviet Film Theory: Education/PropagandaNationalized
film industry, established a national film schoolAll-Russian State University of Cinematography (VGIK)Leaders saw film as key to involving all in political and intellectual revolution
Basic
storyline: triumph of the people over bourgeois oppression
“Art is not a mirror which reflects the historical struggle, but a weapon of that struggle
” --
Dziga
Vertov
(contemporary of Eisenstein)Slide5
Soviet Film Theory: The Kuleshov Effect
Lev Kuleshov teacher at VGIKCentral belief: the viewer’s response in
cinema
depends less on the individual shot
and
more on the editing or
montage
Famous experiment with shot
juxtapositions:
First shot: c/u of actor with neutral expression, then joined this shot to:
c/u of a bowl of soup
c/u of a coffin with a corpsec/u of a little girl playingSlide6
…The Kuleshov EffectTest audiences praised the actor’s versatility in showing hunger, sorrow, and pride, even though the shot of the actor remained exactly the same each time
Hitchcock (+)
Definition: One of the basic theoretical principles of editing – the meaning produced by joining two shots together transcends the visual information contained in each individual shot
(A+B=C)Slide7
Soviet Film Theory: The MontageBelieved in the
power of montage:manipulate the viewer’s perception and understandingAudiences can derive meaning from juxtaposition of two completely unrelated shotsSlide8
…The MontageMeaning created by juxtaposition of shots, not the content of individual images
Sound and visuals can be treated independently or used together
Footage and music can
be
put together
to increase the impact of a key shot
rhythm
of music can accent the rhythm of
editing/the montage (
Marie A
) (
Rushmore)Slide9
Sergei EisensteinStrike (1924)
Battleship Potemkin (1925)October (1927)The General Line
(1928
)
equal to Griffith as a pioneering genius
financed by the soviet governmentSlide10
Sergei Eisenstein
regarded
film editing as a creative
and artistic process
:
one
shot (thesis) collides with another shot of opposing
content
(antithesis) to produce a new idea (synthesis)
forces
the viewer to reach
conclusions
Battleship Potemkin ~47-52,
ch
15 (
or 3:52
)Slide11
And… The History of Montage
“Best Montages Ever”