Films that focused on individuals rather than masses were deemed counterrevolutionary, but not exclusively so. The production of films-how and under what conditions they are made-was of crucial importance to Soviet leadership and filmmakers. A semiotic understanding of film, for example, is indebted to and in contrast with Sergei Eisenstein's wanton transposition of language "in ways that are altogether new." While several Soviet filmmakers, such as Lev Kuleshov, Dziga Vertov, Esfir Shub and Vsevolod Pudovkin put forth explanations of what constitutes the montage effect, Eisenstein's view that "montage is an idea that arises from the collision of independent shots" wherein "each sequential element is perceived not next to the other, but on top of the other" has become most widely accepted. Post-Soviet film theories relied extensively on montage's redirection of film analysis toward language, a literal grammar of film. In fact, montage is demonstrated in the majority of narrative fiction films available today. ![]() Alfred Hitchcock cites editing (and montage indirectly) as the lynchpin of worthwhile filmmaking. Its influence is far reaching commercially, academically, and politically. ![]() It is the principal contribution of Soviet film theorists to global cinema, and brought formalism to bear on filmmaking.Īlthough Soviet filmmakers in the 1920s disagreed about how exactly to view montage, Sergei Eisenstein marked a note of accord in "A Dialectic Approach to Film Form" when he noted that montage is "the nerve of cinema", and that "to determine the nature of montage is to solve the specific problem of cinema". Soviet montage theory is an approach to understanding and creating cinema that relies heavily upon editing ( montage is French for 'assembly' or 'editing'). These factors of industrial, social and cultural life in Russia all contributed to the Soviet Montage movement.Sergei Eisenstein (left) and Vsevolod Pudovkin (right), two of the best-known Soviet film theorists The filmmakers were also heavily influenced by Formalists, a group of art critics in Russian culture who believed that art should not try to reproduce reality, and that, like other forms of art, film should offer interpretations of the world by utilising artistic techniques in the case of the Soviet Montage movement, the main of these techniques was editing. But the filmmakers’ experience in “re-cutting” wasn’t the only thing that motivated the Soviet Montage movement. ![]() After 1919, the film industry was brought under government control, and film was used an an educational tool to spread the new government’s values to the masses. This experience trained the filmmakers in the art of editing, and after the nationalisation of the film industry in 1919 by the Bolshevik government the filmmakers put these skills to use in their own filmmaking. ![]() After Soviet Russia’s communist revolution in 1917-1920, the rest of the world were threatened by the country’s new political structure and were therefore frightened to deal with them, resulting in a lack of film stock available for filmmakers to use. Working around this issue, Russian film practitioners gained experience through “re-cutting” films that had been imported from Europe. Between 19, films produced in Russia by Russian film companies largely took on the shape of film narratives from other parts of the world (Europe and America), such as horror films and melodramas. Until 1908 no films had been produced in Russia, and most films found in pre-revolution Russia were European.
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