![]() ![]() From the combination of these shots, we are meant to understand that the strikers have been designated for slaughter by the army just as the cow was, and that by extension the Tsarist regime views these workers as no better than animals. Eisenstein intersperses shots of this event with shots of a cow being slaughtered by butchers. In this scene, striking factory workers are chased into a fenced-in field and gunned down by the army. Perhaps the most famous example of this technique in Soviet film can be found in the final scene of Eisenstein’s Strike (1925). The Kuleshov Effect is a simple example of what is called "intellectual montage," a specific application of montage editing to produce thematic meanings which could not have been divined through either of the individual shots. (Footage from the original experiment can be seen here.) ![]() Kuleshov and his Soviet contemporaries interpreted these results as proof that audiences’ interpretations of shots could be manipulated by editing. The shot of Mosjoukine was always the same exact footage, but Kuleshov found that audiences believed each shot of Mosjoukine was different, reading different emotions in his face corresponding to the previous shot (hunger for the soup, grief for the dead girl, and lust for the attractive woman). The first shot depicts a scene (A bowl of soup, a dead girl in an open casket, or an attractive women lying in a seductive pose) and the second shot is always a close up of Russian actor Ivan Mosjoukine’s face. In the experiment, Kuleshov showed audiences three pairs of shots. Named for Soviet filmmaker and theorist Lev Kuleshov (who also founded the Moscow Film School, the world’s first dedicated film school), the Kuleshov Effect is an idea born from an editing experiment conducted by Kuleshov himself. The easiest way to demonstrate this idea is by examining the Kuleshov Effect. In the practice of Sergei Eisenstein and his contemporaries, montage is primarily concerned with the idea that editing two or more shots together can affect the audience’s thinking on the relevant shots, creating a new idea whose impact goes beyond that of the two shots considered separately. Montage editing is a style of film editing which, speaking generally, use the act of editing as a central artistic tool of film as opposed to a mere technical procedure to link different shots. ![]()
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