![]() ![]() ![]() Collectively, the directors utilizing montage theory were able to explore how time and space can be presented on film, exploring how audiences may respond to various montage techniques.Īlthough montage is generally used in less radical ways in modern cinema, Kulshov’s theory has undeniably become a common tool for filmmakers worldwide, and films such as Battleship Potemkin and The Man With a Movie Camera are still celebrated as some of the most groundbreaking films of all time. He inspired filmmakers such as Sergei Eisenstein ( Battleship Potemkin), who was formerly a student of Kulshov, and Dsiga Werov ( The Man With a Movie Camera). Kulshov’s theory asked questions as to how editing and composition influences a viewer’s interpretation of a sequence. In this way, Kulshov was applying tools more commonly associated with literature and language, forming sequences as you would a sentence rather than composing a scene as if it were a live theatrical production. Battleship Potemkin is one of the most influential films of all time and captures the Soviet style of film-making perfectly. To prove his point, the filmmaker cut together various images, each of which changed the audience's reading: The same facial expression, applied to different situations, will be interpreted entirely differently by the audience depending on its collective context. It is the principal contribution of Soviet film theorists to global cinema, and brought formalism to bear on filmmaking. The audience are able to view two separate images and subconsciously give them a collective context. Soviet montage theory is an approach to understanding and creating cinema that relies heavily upon editing ( montage is French for 'assembly' or 'editing'). Battleship Potemkin (1925): Odessa steps. Soviet Montage Theory Battleship Potemkin A silent film directed by Sergei Eisenstein in 1925 that depicts the rebellion that occurred in 1905. This would become known as the Kuleshov Effect. Odessa Steps sequence Eisenstein creates the timespace continuum of a nightmare from which there is no waking. Director Lev Kulshov first conceptualised montage theory on the basis that one frame may not be enough to convey an idea or an emotion. Just like French Impressionist cinema, Soviet Montage came from the concept that film theory doesn't necessary have to align with theatrical frameworks, as the filmmaking process provides an entirely new set of tools. ![]()
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