![]() Up next is “The Kuleshov Effect Explained (and How Spielberg Subverts it. 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 Exaggerates the emotional response through supporting and contrasting images.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. By definition, a montage is the process or technique of selecting, editing, and piecing together separate sections of film to form a continuous whole. 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. Forms Are Not Self Subsistent Substances won the Grand Prize at the Media City festival in Windsor, Ontario in 2011.Įxtras: Aphorisms and statements by the filmmaker on a grey foldout sheet.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. Her film The Object Which Thinks Us: OBJECT 1 (2007) won the award for Best Film at the Aurora Film Festival in 2008. ![]() Her films have screened at the Rotterdam International Film Festival the Edinburgh International Film Festival the London Film Festival Images, Toronto the New York Film Festival, and at the Serpentine Gallery, London. Samantha Rebello has been working in film and sound since 2004. An imagined medieval sensibility provides a starting point from which the film explores notions of substance, throwing into relief the strangeness and violence of being. 'Subjects' here include flesh, blood, milk and meat, bestiary illuminations, Romanesque architecture, medieval bells and living things. ![]() The use of imagery abstracted through close-up and framing, combined with concrete sound captured with attention to timbre and rhythm, form an associative montage which defies translation. It develops themes in her earlier films, to do with materiality and language: attempting to examine the 'stuff of things', calling into question our habitual understanding of objects and matter through offering a radically other perspective. Forms Are Not Self-Subsistent Substances (2010) is the most recent film in a body of work by Samantha Rebello.
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