Editing Giants: Kuleshov, Pudovkin, Eisenstein

In the New York Times article ('Soviet Film Producers' Accusation Art', published October 13, 2011), journalist Dave Kehr says, "From the mid-1920s to the latter half, movie art represents only seriousness" Said. One thing for film critics in the United States and Europe: arts of cutting the lens together to create a Soviet style montage, or thought and feel beyond the image "(Kehr 2011, p. 6). This initial paragraph effectively effectively summarizes the essential role played by several Soviet filmmakers in film development, especially in the field of editing.

Constructive editing - editing creates meaning, Kuleshov Workshop studies Griffith 's intolerance on decomposing editing technology and designed the Soviet montage theory, Kuleshov / Pudovkin experiment - "ability to create effects through lens juxtaposition" Puddov 's editor to do is trying to do it "(14 pages), secondary and harmonic emphasis," use of complex montage sequences to convey emotional effects "Effectively select details And sort them in a specific order. Rendering scene

Bazin is skeptical of the editor as counterfeiting technology. He does not like the montage theory of Soviet filmmakers such as Pudovkin and Eisenstein. They insist that film art is based on editors. Those Russian filmmakers believe that real raw materials should not be intact, but fragment and juxtapose should show to the audience the potential relationship under the confusion of life. They insist that the art of this movie is as clever as any other art. Bazan objected. He believes that this technology makes it impossible for viewers to decide on their own. The ambiguity was excluded unconsciously among the editors, so the filmmaker forced us to accept his compulsion as truth, not his special truth. Soviet montage may be suitable for black and white simple advertisement, but he thinks it is a bit rough for the gray arrangement of art.

In the quiet movie of Soviets, Eisenstein's closest partner was his classmate Vsevolod Illarionovich Pudovkin. Like Eisenstein, Pudovkin has developed a new montage theory, but it is based on a cognitive relationship rather than a dialectical conflict. He insists that "This film is not taken, but it is made up of separate celluloid pieces that are raw materials." Like Griffith, Pudoff is not the symbolic one but the montage most commonly used in stories. Purpose His movie is more personal than Eisenstein's movie and the epic drama, which is the focus of the Eisenstein movie that exists in Pudofkin's film, simply provides a context for human emotional interaction Absent.