Soviet montage used the editing to address cultural issues of power and ideology, not justĪesthetics, feelings, and interpretations of narrative or character. Would come to an “intellectual perception of revolutionary history.” So for Eisenstein,Įditing was about affecting the viewer’s psyche so that, rather than being manipulated, they Words, viewers constantly had to actively invent a synthesis between shots. Participate in the film by continually working out in their own minds what the relationshipsīetween shots might represent, and what the significance of the juxtapositions were. Sergei Eisenstein took this idea a step further and tried to use montage to allow viewers to Longer seen as simply absorbing meaning from the images, but actually creating meaning byĪssociating the different images and drawing meaning from their juxtaposition. Opportunity to link entirely unrelated material in the minds of the viewers, who were no Kuleshov concluded from his experiment that editing created the Viewer’s interpretation of the previous one was supported by behavioral psychology theories The basic notion that a subsequent image could affect the The KuleshovĮxperiment is a good example. Images and what the effects of such juxtapositions might be on the viewer. They began this process by testing basic reactions to the juxtaposition of In fact, when Eisenstein taught filmmaking, the first thing he made his studentsĭo was storyboard and set up shots for an entire film without any actual film in the camera.Įuropean modernism inspired Soviet filmmakers to experiment with a much wider range ofĮditing techniques than those being used in the West, where Hollywood continuity editing hadīecome dominant. Over from other productions, so they not only used short shots, they often planned them in When they did shoot film, they often had only short lengths of film (called short ends) left Learned how to make films by deconstructing old ones rather than shooting new material. In the 1920s, a lack of film stock meant that Soviet filmmakers often re-edited existing films or The montageįilmmakers asked questions such as, What effect does it have when the viewer is jolted intoĪwareness of film form by a cut between two very different, juxtaposed images? And Soviet avantgarde filmmakers were also interested in this, because by the 1920s these conventions wereĪlready well-established and being adopted by filmmakers around the world. Of the “invisibility” of the narrative and possible audience manipulation. Way that it appears to be “telling itself.” Film theorists have often questioned the implications The continuity system (usually used in Hollywood movies) is about telling a story in such a Which the viewer isn’t aware of the cuts and doesn’t think about the way a film is edited at all. The Soviet filmmakers approach contrasted the predominant continuity editing system in Of theories around the use of montage that was quite different from its use in Europe to depictĬonfused, mental states or a rush of events. After the Soviet revolution, Soviet filmmakers developed a complex set Viewer, and the creative use of juxtaposition was becoming widespread in European modernistĪrt, theater and poetry. Invent a new kind of art, one that utilized graphic collage to create a kind of shock for the By 1910, a group of Russian painters were trying to Visual arts in Europe in the early 1900s. Roots of the montage aesthetic were in the modernist movements that had revolutionized the Montage describes cutting together images that aren’t in spatial or temporal continuity.
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