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 instruct/indoctrinate . ID: 728787 Download Presentation
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 instruct/indoctrinate .
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Presentation on theme: "Soviet Montage 1924-1930"— Presentation transcript:
Slide1
Soviet
Montage
1924-1930
Slide2
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 Editing
Slide3
Soviet Film Theory: Character and SocietyDownplay
individual characters characters are shown as members of society and of different social classes
Slide4
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:
close up
of actor with neutral expression, then joined this shot to:
close up of a coffin with a corpseclose up of a bowl of soupclose up of a little laying down
Slide6Slide7
…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)
Slide8
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 shots
Slide9
…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)
Slide10
Sergei EisensteinStrike (1924)
Battleship Potemkin (1925)October (1927)The General Line
(1928
)
equal to Griffith as a pioneering genius
financed by the soviet government
Slide11
Sergei Eisenstein
regarded
film editing as a creative
and artistic process
:
one
shot (thesis) collides with another shot of opposing
