Editing Giants: Kuleshov, Pudovkin, Eisenstein Essay

2222 words - 9 pages

In an article in the New York Times (“The condemned art of Soviet filmmakers”, published on 13th October 2011), journalist Dave Kehr states that “for a time in the mid-to-late 1920s, the art of the cinema meant only one thing to the serious-minded film critics of America and Europe: Soviet-style montage, or the art of cutting shots together in a way that would produce ideas and emotions beyond those expressed in the images” (Kehr 2011, p.6). This opening paragraph effectively sums up the integral role some Soviet filmmakers played in the development of cinema and in particular the art of editing. In this essay I will elaborate on three of the Soviet era’s most prominent contributors: Lev Kuleshov, Vsevold Pudovkin and Sergei Eisenstein, elaborating on the role they played within the development of modern day cinema and in specific their contribution to the technique of editing. Lev Vladimirovich Kuleshov was born on January 13th, 1899 in Moscow, Soviet Union (known today as Russia). Kuleshov started his career in the arts at the young age of 15, attending the Moscow School of Paintin, Architecture and Sculpture and went on to become a set designer for director Evgeni Bauer at Alzexandr Khazonkov’s film studio in Moscow. In 1917 when Kuleshov was 18, a director called Yevgeni Bauer died while directing the film Za schastem and Kuleshov was offered the opportunity to take over the responsibility of directing the film. This would be the start of his directorial career. Kuleshov was to learn a lot from Bauer’s approach to filmmaking (referred to as “the Bauer method”) which implied that the director was to have complete control over every aspect of the film (including, but not limited to, costume & styling, lighting and set design) whereas these elements and the effects they had on a film’s feel where not well planned and thought through prior to Bauer’s theory. After the Russian Revolution (when he joined the Bloshevik army and, together with a documentary crew, documented the war on the Eastern front) he was selected to become the instructor of the Moscow Film School (the world’s first ever film school). Kuleshov also took great inspiration from American Cinema and greatly admired American directors D.W. Griffith and Mack Sennet. In an article of 1922 by Kuleshov titled “Americanism” Kuleshov argued that there is a fundamental need for an “organic link with contemporary life,” “the maximum amount of
movement, shorter scenes and therefore more rapid cutting, close-ups and attention to how individual shots worked when combined together”, in other words, montage. (Kuleshov 1922, p. 14-15). Kuleshov drew inspiration from Griffith and Sennet and eventually introduced crosscutting in editing and montage into Russian cinema. It was at the Moscow film school that Kuleshov, together with his students, began experimenting with different editing techniques and eventually developed what is known today as the “Kuleshov effect”. This experiment was to bring...

Find Another Essay On Editing Giants: Kuleshov, Pudovkin, Eisenstein

Comparing Dziga Vertov's Film, Man with a Movie Camera and Run Lola Run

3025 words - 12 pages . During this time, the freedom to make films was limited due to low stock of supply. Vertov and his colleagues had to be very creative and innovative if they were going produce anything at all. 'The Kuleshov Workshop', a workshop class at the Moscow Film School led by Lev Kuleshov included famous Soviet filmmakers like Vsevolod Pudovkin and Sergei Eisenstein, but excluded Vertov. This is significant to the fact that Vertov was very different

New Wave Theory Essay

4628 words - 19 pages .: Twayne, 1987. Pudovkin, V. I. Film Technique and Film Acting. Ed. and trans. Ivor Montagu. New York: Grove Press, 1958. Reisz, Karel, and Gavin Millar. The Technique of Film Editing. New York: Hastings House, 1968. Rogin, Michael. "'The Sword Became a Flashing Vision': D. W. Griffith's The Birth of a Nation." Representations 9 (Winter 1985): 150-195. Rohmer, Eric, and Claude Chabrol. Hitchcock. Trans. Stanley Hochman

New Wave Theory

4524 words - 18 pages significance only when the words are embodied in images on the screen. As they saw it, since the director is responsible for the images, he oversees the set designs, cinematography, editing, and performances of the actors, and also, in many cases, reworks the screenplay or script. Thus, according to the New Wave critics, it is the director and not the screenwriter whose artistic vision is inscribed onto the film. Certain directors, to be sure, had long

Reality and Illusion in Shakespeare's Hamlet - Reality, Appearance and Deception

896 words - 4 pages Reality and Illusion in Hamlet   Shakespeare’s play, Hamlet, begins with the appearance of a ghost, an apparition, possibly a hallucination. Thus, from the beginning, Shakespeare presents the air of uncertainty, of the unnatural, which drives the action of the play and develops in the protagonist as a struggle to clarify what only seems to be absolute and what is actually reality. Hamlet's mind, therefore, becomes the central force of the

Sub-plots in Hamlet

1118 words - 4 pages Sub-plots in Hamlet   There are many things that critics say make Hamlet a "Great Work," one of which is the way that Shakespeare masterfully incorporates so many sub-plots into the story, and ties them all into the main plot of Hamlet’s revenge of his father’s murder. By the end of Act I, not only is the main plot identified, but many other sub-plots are introduced. Among the sub-plots are trust in the Ghost of King Hamlet, Fortinbras, and

Hamlet as Victim and Hero

1301 words - 5 pages Hamlet as Victim and Hero      Hamlet, Prince of Denmark, a Shakespearean tragedy, tells the story of Prince Hamlet, who gained the knowledge of a terrible incident that his kingdom had suffered. Claudius, the king of Denmark and Hamlet's uncle, had killed his own brother, the king, who was also the father of Hamlet, and married his brother's widow. Hamlet suffered these traumas to a severe degree, and his only relief was to defeat his

Essay on Light and Dark in Antigone

1188 words - 5 pages Use of Light and Dark in Antigone   The "Golden Age" of Greece is noted for its many contributions to the creative world, especially in its development of the play. These performances strived to emphasize Greek morals, and were produced principally for this purpose. Antigone, by Sophocles, is typical. The moral focused on in Antigone is the conflict between physis (nature) and nomos (law), with physis ultimately presiding over nomos

charant Creon as the Main Character of Antigone

1231 words - 5 pages Creon as the Main Character of Antigone   Throughout the Greek play Antigone by Sophocles, there exists a dispute as to who should receive the designation of main character. Antigone, the daughter of the cursed King Oedipus, as well as Creon, stately king of Thebes, both appear as the key figures in this historic play. I believe that Creon, king of Thebes, should be considered the main character in this work of Greek theater. Three

Free Macbeth Essays: Sleep and Sleeplessness

525 words - 2 pages The Sleep and Sleeplessness Motif in Macbeth We have consciences that function to tell us the difference between right and wrong. If we have clear consciences, we usually possess the ability to sleep. But when our consciences are full of guilt, we experience a state of sleeplessness. In Macbeth, Shakespeare uses the sleep and sleeplessness motif to represent Macbeth's and Lady Macbeth's consciences and the effect Macbeth's conscience has on

Life Outside of Life in Hawthorne’s Wakefield

898 words - 4 pages Life Outside of Life in Hawthorne’s Wakefield   Efficacy lies at the heart of human desires for immortality. Characters throughout literature and art are depicted as wanting to step aside and see what their world would be like without their individual contributions. The literary classic A Christmas Carol and the more recent, but ageless, film It’s Wonderful Life both use outside influences (three ghosts and Clarence the Angel

Essay on Identity in Song of Solomon

2172 words - 9 pages Searching for Identity in Song of Solomon         Abstract: Whether Africans really fly or just escape a monumental burden, perhaps only through death, is a decision Toni Morrison has apparently left to her readers. Never the less, no matter what you believe, within Song of Solomon, the suggestion is, that in order to "fly" you must go back to the beginning, back to your roots. You must learn the "art" from the old messages.   O

Similar Essays

Editing Giants: Kuleshov, Pudovkin And Eisenstein

880 words - 4 pages first film school. In a time when filmmaking was still in its infancy, Kuleshov was perhaps the first to theorize about the power of this new story telling medium. These theories and experiments would pave the way for future Russian film giants like Pudovkin and Eisenstein (who briefly studied under him). Kuleshov’s most famous experiment is known today as the Kuleshov Effect. In order to show the power of editing he screened a shot of the

Kuleshov Essay

1337 words - 6 pages highly influenced by the works of American directors Mack Sennett and D.W Griffith who where great pioneers of film in that era, he started to devise his montage theory, later name Kuleshov effect. He become instructor at the First Nation Film School in Moscow, an institution Kuleshov helped establish in 1919, he introduced his theories in editing and montage to his students and future soviet Film great as Segei Eisenstein and Vsevolod Pudokvin

Soviet Montage Essay

617 words - 2 pages artistic talent seemed to burst out of Russia from then until the 1930’s and the reign of Stalin. In the year 1917 film censorship was abolished. Because of this, people like Eisenstein, Vertov, Dovzhenko and Pudovkin were allowed to flourish. These men had benefited from the State Film School which was established in 1919 by Narkompros. This freeing of the restraints on film allowed people like Eisenstein to analyse film in a scientific and

Theory Of Montage In Pudovkin’s, Eisenstein’s And Vertov’s Movie.

1216 words - 5 pages (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with a movie camera (D. Vertov, 1929). The School of montage Most of the films that they were created in the Soviet Union, outside the school of montage, use topics of sitcoms and to a various literary adaptations. Conversely directors from school of montage decided on a topic related to the uprising, or other historically revolutionary movement. This was mainly the one that these