![]() He classified these collisions into five categories: metric, rhythmic, tonal, overtonal, and intellectual. Sergei Eisenstein, one of Kuleshov’s students, developed his own theory on montage that viewed the juxtaposition of shots as conflict, as a collision of images with shots building upon each other to create and change meaning with each following shot (Martin 22). It is very natural for audiences to relate two sequential images to each other to create anything from an ideological meaning to even a comedic effect. This concept is one of the most important pillars of filmmaking. This proved to Kuleshov that in cinema, it is the way images relate to each other that creates meaning-not the images themselves. Although the shot of Ivan is the same, over and over, his expression seems to change because of the image following it. As a result, Kuleshov developed one of the most important concepts in montage theory this came to be known as the “Kuleshov effect.” Kuleshov cut together several identical shots of an actor named Ivan Mozzhukhin with different shots including those of a bowl of soup, a dead child, and a beautiful woman. Kuleshov and his people even went so far as to re-edit pre-revolution Russian films in order to rid them of the bourgeoisie messages of the past (Smith 289). Griffith’s Birth of a Nation to learn how meaning was created (Martin 21). Film theorist and director Lev Kuleshov-who helped create the first ever film school-often had his students re-edit D.W. The widespread use of montage theory grew out of a lack of available film stock. This was achieved with two techniques: first, a focus on realism, and second, even more important, the use of montage (or editing) to create meaning (Smith 289). This group wanted to throw out everything pre-revolution and create films that reflected the current ideology. In 1929, the Association of Revolutionary Cinema became the Associations of Workers of Revolutionary Cinematography with a new mission to create “100 percent proletarian ideological film” (Smith 285). Their aim was to “reinforce ideological control over the creative process” (Smith 285). In 1924, the leading Russian filmmakers, under the leadership of Sergei Eisenstein and Lev Kuleshov, started the Association of Revolutionary Cinema. In 1935, the completed studio was named Mosfilm, whose logo you may have seen in front of some of Russia’s greatest movies (Smith 284). ![]() ![]() In 1924, two major studios unified in a village outside of Moscow, becoming the biggest studio in Russia. ![]() By the mid-20s, new studios popped up and others merged. Six film studios led the early years of Soviet cinema -the largest of these only had around 100 employees (Smith 284). On August 27 th, 1919, Bolshevik leader Vladimir Lenin signed “the Council of People’s Commissars of the RSFSR Decree ‘On the transfer of the photographic trade and industry to Narkompros,” which nationalized private film and thus created Soviet cinema (Smith 284). The Bolsheviks were quick to realize the power of cinema as a propaganda tool, and soon a “post-imperial” cinema was born (Martin 21). By 1917, when Nicholas’ reign ended and the Bolsheviks took control after the October Revolution, the Russian film industry was producing over a hundred films each year (Martin 21). In that same month appeared Russia’s first motion picture: the coronation of Tsar Nicholas II at the Kremlin (Martin 21). Petersburg, Russia to show off some of the first motion pictures ever made. In 1896, the Lumiere Brothers brought their new cinematograph contraption to Moscow and St.
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