The characteristics of Russian montage revolutionized cinema

When the cinema was still in the making, the Russian montage created a pattern that will serve as a model for other subsequent films.

Today, when we speak of assembly can not avoid referring to films by directors like Scorcese, Tarantino or David Fincher (among many others). However, the origins of these techniques almost a century ago are located, at a time when cinema was still an unknown art in much of the world.

The Russian assembly held in movies created for 1920 will begin to experiment with these techniques, those trying to see how the way in which a film was shown could intervene in the meaning it conveyed.

Eisenstein or Dziga Vertov are just some of the biggest names of these young filmmakers Soviets. Create a model of audiovisual narrative was a must, especially in a period where many recordings only showed scenes like a theater it were, with little sense of rhythm by inserting different planes.

As we see in Suite101, the author cites the book “Introduction to Film Studies” where Jill Nelmes defines the show as “” technique which is based on uniting two moments or scenes of a film for the viewer understands that are related in one way or another. This is the audience extract meaningful link these separate images. “

Even then there were figures like David W. Griffith, which will create such groundbreaking works “The Birth of a Nation” (1915), which despite showing a history of dubious morality is a milestone in terms of technique, since planes ceased to be fixed to be sandwiched together.

But not until the arrival of Soviet cinema of the 20s when they begin to develop more specific about what could convey the film montage theories. However, we must remember that because the Russian context, most of the works are marked by a light tint propaganda.

The effect Kuleshov

The call Kuleshov effect was one of those experiments, in which the filmmaker Lev Kuleshov intended to check the effect that they had a succession of different levels on the viewer.

For this, the Russian planes interspersed different situations (a bowl of soup, a coffin, or woman) with the actor Ivan Mozzhujin face. Despite expression of helper was always the same, the public perceived it changed depending on the situation shown.

So, it was found how the audience helps to develop of meanings, which were favored as the mental association that caused the assembly carried out by the principal. A psychological tool will be implemented by those interested in spreading ideals, but it highlighted a technique that would change the principles of cinema.

Sergei Eisenstein

As stated in learn acerca film, Eisenstein will be a key to the emergence of various theories of Figure mounting type should be done, reaching raise even time should remain flat screen for it to be effective.

Also, Sergei would implement the aforementioned effect Kuleshov, something that will be very reflected in films like “October” where planes Christian symbols were interspersed with those of other religions, suggesting that all religions are equal.

But undoubtedly one of the best-known scenes will the ladder Potemkin, recorded in the Ukrainian city of Odessa to Movie “The Battleship Potemkin”.

assembly techniques were employed hitherto unseen
Here, citizens City are stalked by the Tsarist troops, which was used to create one of the most iconic movie scenes, where assembly techniques were employed hitherto unseen. After a general plane a plane detail was used, subsequently followed by a vertical traveling then move to a more closed … what was different, had the pace.

We could say that the Russian assembly “Battleship Potemkin” was a turning point in cinema. As the Soviet director Pudovkin (1956), “for director each plane of the film serves the same purpose as the word for poet (…) the assembly is the language of film director” he says.

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