Kuleshov Effect
Encyclopedia
The Kuleshov Effect is a film editing
(montage
) effect demonstrated by Russian filmmaker Lev Kuleshov
in the 1910s and 1920s.
was alternated with various other shots (a plate of soup, a girl, a little girl's coffin). The film was shown to an audience who believed that the expression on Mozzhukhin's face was different each time he appeared, depending on whether he was "looking at" the plate of soup, the girl, or the coffin, showing an expression of hunger, desire or grief respectively. Actually the footage of Mozzhukhin was the same shot repeated over and over again. Vsevolod Pudovkin
(who later claimed to have been the co-creator of the experiment) described in 1929 how the audience "raved about the acting... the heavy pensiveness of his mood over the forgotten soup, were touched and moved by the deep sorrow with which he looked on the dead child, and noted the lust with which he observed the woman. But we knew that in all three cases the face was exactly the same."
Kuleshov used the experiment to indicate the usefulness and effectiveness of film editing. The implication is that viewers brought their own emotional reactions to this sequence of images, and then moreover attributed those reactions to the actor, investing his impassive face with their own feelings.
The effect has also been studied by psychologist
s, and is well-known among modern film makers. Alfred Hitchcock
refers to the effect in his conversations with François Truffaut
, using actor James Stewart
as the example.
The experiment itself was created by assembling fragments of pre-existing film from the Tsarist film industry, with no new material. Mozzhukhin had been the leading romantic "star" of Tsarist cinema, and familiar to the audience.
Kuleshov demonstrated the necessity of considering montage as the basic tool of cinema art. In Kuleshov's view, the cinema consists of fragments and the assembly of those fragments, the assembly of elements which in reality are distinct. It is therefore not the content of the images in a film which is important, but their combination. The raw materials of such an art work need not be original, but are pre-fabricated elements which can be disassembled and re-assembled by the artist into new juxtapositions.
The montage experiments carried out by Kuleshov in the late 1910s and early 1920s formed the theoretical basis of Soviet montage cinema, culminating in the famous films of the late 1920s by directors such as Sergei Eisenstein
, Vsevolod Pudovkin
and Dziga Vertov
, among others. These films included The Battleship Potemkin
, October, Mother
, The End of St. Petersburg
, and The Man with a Movie Camera.
Soviet montage cinema was suppressed under Joseph Stalin
during the 1930s as a dangerous example of Formalism in the arts
, and as being incompatible with the official Soviet artistic doctrine of Socialist Realism
.
Film editing
Film editing is part of the creative post-production process of filmmaking. It involves the selection and combining of shots into sequences, and ultimately creating a finished motion picture. It is an art of storytelling...
(montage
Soviet montage theory
Soviet montage theory is an approach to understanding and creating cinema that relies heavily upon editing...
) effect demonstrated by Russian filmmaker Lev Kuleshov
Lev Kuleshov
Lev Vladimirovich Kuleshov was a Soviet filmmaker and film theorist who taught at and helped establish the world's first film school .-Career:...
in the 1910s and 1920s.
Specifics of the Kuleshov effect
Kuleshov edited together a short film in which a shot of the expressionless face of Tsarist matinee idol Ivan MozzhukhinIvan Mozzhukhin
Ivan Ilyich Mozzhukhin Ivan Ilyich Mozzhukhin Ivan Ilyich Mozzhukhin (Russian: Иван Ильич Мозжухин was a Russian silent film actor.-Career in Russia:Mozzhukhin was born in Penza, Russia and studied law at Moscow State University. In 1910 he left academic life to join a troupe of traveling actors...
was alternated with various other shots (a plate of soup, a girl, a little girl's coffin). The film was shown to an audience who believed that the expression on Mozzhukhin's face was different each time he appeared, depending on whether he was "looking at" the plate of soup, the girl, or the coffin, showing an expression of hunger, desire or grief respectively. Actually the footage of Mozzhukhin was the same shot repeated over and over again. Vsevolod Pudovkin
Vsevolod Pudovkin
Vsevolod Illarionovich Pudovkin was a Russian and Soviet film director, screenwriter and actor who developed influential theories of montage...
(who later claimed to have been the co-creator of the experiment) described in 1929 how the audience "raved about the acting... the heavy pensiveness of his mood over the forgotten soup, were touched and moved by the deep sorrow with which he looked on the dead child, and noted the lust with which he observed the woman. But we knew that in all three cases the face was exactly the same."
Kuleshov used the experiment to indicate the usefulness and effectiveness of film editing. The implication is that viewers brought their own emotional reactions to this sequence of images, and then moreover attributed those reactions to the actor, investing his impassive face with their own feelings.
The effect has also been studied by psychologist
Psychologist
Psychologist is a professional or academic title used by individuals who are either:* Clinical professionals who work with patients in a variety of therapeutic contexts .* Scientists conducting psychological research or teaching psychology in a college...
s, and is well-known among modern film makers. Alfred Hitchcock
Alfred Hitchcock
Sir Alfred Joseph Hitchcock, KBE was a British film director and producer. He pioneered many techniques in the suspense and psychological thriller genres. After a successful career in British cinema in both silent films and early talkies, Hitchcock moved to Hollywood...
refers to the effect in his conversations with François Truffaut
François Truffaut
François Roland Truffaut was an influential film critic and filmmaker and one of the founders of the French New Wave. In a film career lasting over a quarter of a century, he remains an icon of the French film industry. He was also a screenwriter, producer, and actor working on over twenty-five...
, using actor James Stewart
James Stewart (actor)
James Maitland Stewart was an American film and stage actor, known for his distinctive voice and his everyman persona. Over the course of his career, he starred in many films widely considered classics and was nominated for five Academy Awards, winning one in competition and receiving one Lifetime...
as the example.
The experiment itself was created by assembling fragments of pre-existing film from the Tsarist film industry, with no new material. Mozzhukhin had been the leading romantic "star" of Tsarist cinema, and familiar to the audience.
Kuleshov demonstrated the necessity of considering montage as the basic tool of cinema art. In Kuleshov's view, the cinema consists of fragments and the assembly of those fragments, the assembly of elements which in reality are distinct. It is therefore not the content of the images in a film which is important, but their combination. The raw materials of such an art work need not be original, but are pre-fabricated elements which can be disassembled and re-assembled by the artist into new juxtapositions.
The montage experiments carried out by Kuleshov in the late 1910s and early 1920s formed the theoretical basis of Soviet montage cinema, culminating in the famous films of the late 1920s by directors such as Sergei Eisenstein
Sergei Eisenstein
Sergei Mikhailovich Eisenstein , né Eizenshtein, was a pioneering Soviet Russian film director and film theorist, often considered to be the "Father of Montage"...
, Vsevolod Pudovkin
Vsevolod Pudovkin
Vsevolod Illarionovich Pudovkin was a Russian and Soviet film director, screenwriter and actor who developed influential theories of montage...
and Dziga Vertov
Dziga Vertov
David Abelevich Kaufman , better known by his pseudonym Dziga Vertov , was a Soviet pioneer documentary film, newsreel director and cinema theorist...
, among others. These films included The Battleship Potemkin
The Battleship Potemkin
The Battleship Potemkin , sometimes rendered as The Battleship Potyomkin, is a 1925 silent film directed by Sergei Eisenstein and produced by Mosfilm...
, October, Mother
Mother (1926 film)
Mother is a 1926 Soviet film directed by Vsevolod Pudovkin depicting one woman's struggle against Tsarist rule during the Russian Revolution of 1905. The film is based on a novel of the same title by Maxim Gorky....
, The End of St. Petersburg
The End of St. Petersburg
The End of St. Petersburg is a 1927 silent film directed by Vsevolod Pudovkin and produced by Mezhrabpom. Commissioned to commemorate the tenth anniversary of the October Revolution, The End of St Petersburg was to be Pudovkin's most famous film and secured his place as one of the foremost Soviet...
, and The Man with a Movie Camera.
Soviet montage cinema was suppressed under Joseph Stalin
Joseph Stalin
Joseph Vissarionovich Stalin was the Premier of the Soviet Union from 6 May 1941 to 5 March 1953. He was among the Bolshevik revolutionaries who brought about the October Revolution and had held the position of first General Secretary of the Communist Party of the Soviet Union's Central Committee...
during the 1930s as a dangerous example of Formalism in the arts
Formalism (art)
In art theory, formalism is the concept that a work's artistic value is entirely determined by its form--the way it is made, its purely visual aspects, and its medium. Formalism emphasizes compositional elements such as color, line, shape and texture rather than realism, context, and content...
, and as being incompatible with the official Soviet artistic doctrine of Socialist Realism
Socialist realism
Socialist realism is a style of realistic art which was developed in the Soviet Union and became a dominant style in other communist countries. Socialist realism is a teleologically-oriented style having its purpose the furtherance of the goals of socialism and communism...
.
Further reading
- Wallbott, H. G. (1988). In and out of context: Influences of facial expression and context information on emotion attributions. British Journal of Social Psychology, 27, 357-369.