Considering all these developments, the Soviet Cinema will be examined from both aspects and the productions and artists of the period will be shown with examples. These policies, which were strengthened during the Stalin period, had a negative impact on filmmakers and artists. Therefore, it has been seen that the Soviet cinema has been developed for a significant period as it has been prevented and regressed because it is dealt with on its political and ideological basis. Vladimir Lenin, as considered in the expression, “For us, cinema is the most important of all arts” shows the aim of teaching and disseminating the idea of socialism rather than an artistic branch of cinema.
While this development involved new techniques and styles, traditional Russian cinema began to spread internationally with artists emigrating from Russia. Screen, freed from the yoke of dictatorship and oppression of commercial reactionary ideas, has become one of the most important forms of artistic people awareness of their past, present and future" (Weissfeld, 1967, p.29). With the revolution, a new era was opened in cinema "October has brought world cinema a new character, the ideas, the very spirit of creative innovation. Until the October Revolution, a style of cinema that had not yet worked out was exhibited, while the operation of the cinema continued with the film screenings imported by the importing companies from the West. Pre-Soviet Russian cinema began in 1908 with the first Russian-made film Drankov's Stenka Razin. Up next is “The Kuleshov Effect Explained (and How Spielberg Subverts it.The Union of Soviet Socialist Republics, initiated by the Bolsheviks in the October Revolution of 1917, has been a pioneer of a new world in many respects, while at the same time taking on a new branch of art with its influence and authority on cinema. We only touched on the Kuleshov Effect as part of Soviet Montage Theory, but in this next article we break it down in further detail with modern examples, including the work of Steven Spielberg. Soviet filmmaker Sergei Eisenstein, who was once a student of Lev Kuleshov, is credited with outlining Soviet Montage Theory through the five steps we’ve just gone over.īoth Eisenstein and Kuleshov used the five steps of Soviet Montage Theory through their careers, which helped them to become some of the most influential technical filmmakers of all-time. Sergei Eisenstein Montage Film The Five Steps
Let’s look at the essential aspects inherent in a montage: This scene is one of the best examples of the influence of Soviet Montage Theory on international cinema. Types of Montage Film Intellectual MontageThe idea behind Kuleshov’s short film was to combine a single, center-framed shot of the popular actor Ivan Mosjoukine with three other distinct shots: The first is a bowl of soup, the second is a girl in a coffin, and the third is a woman lying on a couch. During his professorship, Kuleshov released a short film that would go on to become the foundation of Soviet Montage Theory. Kuleshov, along with his students, explored the process of film editing rigorously. Consequently, at this time it was incredibly difficult to find film stock in Russia, so instead, the people were left to study film rather than create it.
What followed was a period of radical change, both socially and economically.
In 1923, Vladimir Lenin and the Bolsheviks usurped control of the Russian government. One of the foremost professors at the School was Lev Kuleshov, who had begun experimenting with new ways of editing film by 1920. The Moscow Film School or VGIK was founded in 1919 during the midst of the Russian Revolution. The word ‘montage’ is rooted in the French language as a term to describe the connection of individual pieces, whether they be film, music or images, into a cohesive whole.īut to understand why montages became a major component of Soviet cinema, we have to first look at how the industry got to that point.
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