Soviet montage school
E40648
The Soviet montage school was an influential early 20th-century film movement in the Soviet Union that emphasized dynamic editing and the collision of images to create meaning and emotional impact, shaping the theory and practice of cinema worldwide.
Observed surface forms (5)
| Surface form | Occurrences |
|---|---|
| Kuleshov effect | 3 |
| Soviet montage cinema | 2 |
| Soviet montage theory | 2 |
| Soviet montage | 1 |
| The Principles of Montage | 1 |
Statements (87)
| Predicate | Object |
|---|---|
| instanceOf |
Soviet film movement
ⓘ
film movement ⓘ montage theory tradition ⓘ |
| aim |
to convey ideological messages
ⓘ
to shape viewers’ emotions through editing ⓘ to support socialist construction ⓘ |
| coreIdea |
cinema as a tool for political education
ⓘ
editing can produce emotional and intellectual effects ⓘ meaning is created by the juxtaposition of shots ⓘ |
| countryOfOrigin | Soviet Union ⓘ |
| educatedAt |
Gerasimov Institute of Cinematography
ⓘ
surface form:
Moscow Film School
VGIK ⓘ |
| field |
cinema studies
ⓘ
film editing ⓘ film theory ⓘ |
| genre | avant-garde cinema ⓘ |
| hasPart |
Soviet montage school
self-linksurface differs
ⓘ
surface form:
Kuleshov effect
intellectual montage theory ⓘ theory of attractions ⓘ |
| inception | 1920s ⓘ |
| influenced |
French New Wave
ⓘ
Italian Neorealism ⓘ Latin American revolutionary cinema ⓘ New Hollywood ⓘ
surface form:
New Hollywood cinema
documentary film ⓘ film editing practices worldwide ⓘ political cinema ⓘ world cinema ⓘ |
| influencedBy |
Leninist cultural policy
ⓘ
historical materialism ⓘ
surface form:
Marxist dialectics
Russian Revolution ⓘ constructivism ⓘ |
| language | Russian ⓘ |
| legacy |
core curriculum in film schools worldwide
ⓘ
foundation of modern film editing theory ⓘ inspiration for experimental film practices ⓘ |
| location |
Leningrad
ⓘ
Moscow ⓘ |
| mainCharacteristic |
collective protagonists instead of individual heroes
ⓘ
collision of images ⓘ dialectical montage ⓘ dynamic editing ⓘ emphasis on editing over mise-en-scène ⓘ intellectual montage ⓘ metric montage ⓘ overtonal montage ⓘ politically engaged narratives ⓘ rhythmic montage ⓘ tonal montage ⓘ use of non-professional actors ⓘ use of typage in casting ⓘ |
| notableFigure |
Alexander Dovzhenko
ⓘ
Boris Barnet ⓘ Dziga Vertov ⓘ Esfir Shub ⓘ Lev Kuleshov ⓘ
surface form:
Grigori Aleksandrov
Lev Kuleshov ⓘ Mikhail Kalatozov ⓘ Sergei Eisenstein ⓘ Vsevolod Pudovkin ⓘ |
| notableWork |
A Sixth Part of the World
ⓘ
Arsenal ⓘ Battleship Potemkin ⓘ Earth (1930 film) ⓘ Enthusiasm: Symphony of the Donbass ⓘ Man with a Movie Camera ⓘ Mother (1926 film) ⓘ October ⓘ Strike ⓘ The Eleventh Year ⓘ The End of St. Petersburg ⓘ The General Line ⓘ Man with a Movie Camera ⓘ
surface form:
The Man with the Movie Camera
|
| opposedTo |
classical Hollywood continuity editing
ⓘ
invisible editing style ⓘ |
| relatedConcept |
Soviet montage school
self-linksurface differs
ⓘ
surface form:
Kuleshov effect
dialectical materialism in film ⓘ montage of attractions ⓘ |
| significantEvent |
Stalinist cultural restrictions
ⓘ
state censorship in the late 1920s and 1930s ⓘ transition to sound cinema ⓘ |
| theorizedBy |
Dziga Vertov
ⓘ
Lev Kuleshov ⓘ Sergei Eisenstein ⓘ Vsevolod Pudovkin ⓘ |
| timePeriod |
early 20th century
ⓘ
silent film era ⓘ |
Referenced by (11)
Full triples — surface form annotated when it differs from this entity's canonical label.
this entity surface form:
Soviet montage cinema
this entity surface form:
Kuleshov effect
this entity surface form:
Soviet montage theory
this entity surface form:
Soviet montage
this entity surface form:
Soviet montage cinema
this entity surface form:
Kuleshov effect
this entity surface form:
Soviet montage theory
this entity surface form:
Kuleshov effect
this entity surface form:
The Principles of Montage