The Soviet school of montage, characteristic of the school of Soviet montage

The former is eaten for nothing, and the latter is a genius!

The typical feature of montage of the Soviet school of montage is dialectics (contradiction, opposition, conflict, unity). Lasanfeng.

Everyone knows that montage wheel, transliterated from the French montage, was originally an architectural term, meaning composition, assembly. Later, it was derived into the field of film and became synonymous with editing and collage.

The montage school appeared in the Soviet Union in the mid-twenties of the twentieth century, represented by Eisenstein, Kulishov, and Pudovkin, who sought to explore new means of film expression to express the revolutionary film art of the new era, and their exploration mainly focused on the experiment and research of montage, created a systematic theory of film montage, and applied the theoretical exploration to artistic practice, creating "Battleship Potemkin", "Mother", "Land" and other model works of montage art, constituting the famous montage school.

At that time, the Soviet Union needed a powerful propaganda in the process of overthrowing the tsarist rule and establishing a socialist state**; The Montage School came into being, so the Montage School can be regarded as an art school with an ideological function; But the school of montage was also inevitably influenced by the avant-garde movement that broke out in Europe.

He also conducted a lot of study and research on American films, especially Griffith films. In fact, the montage technique was used in movies as early as Griffith or even earlier, and the Soviet school of montage systematized and theorized it, and used it consciously and rationally, and eventually formed the montage school.

1.The Lumière brothers.

2.Eisenstein.

Correct answer: Eisenstein.

The school of montage appeared in the Soviet Union in the middle of the twentieth century in the twentieth century, with Eisenstein, Kulishov, and Pudovkin as the generation, they sought to explore new means of film expression to express the revolutionary film art of the new era, and their exploration mainly focused on the experiment and research of montage Tanzhi Sakura, founded the systematic theory of film montage, and applied the exploration of theory to artistic practice, creating "Battleship Potemkin", "Mother", "Land" and other model works of montage art. constitutes the famous school of montage.

The montage school appeared in the Soviet Union in the mid-twenties of the twentieth century, represented by Eisenstein, Kulishov and Pudovkin, who sought to explore new means of film expression to express the revolutionary film art of the new era, while the exploration of the stool of the sail god mainly focused on the experiment and research of montage, created a systematic theory of film montage, and applied the exploration of theory to artistic practice, creating "Battleship Potemkin", "Mother", "Land" and other exemplary works of montage art. constitutes the famous school of montage.

Summary. The creation and development of the genre of montage cinema in the former Soviet Union is due to the four masters of the art of Kulishov, Vertov, Eisenstein and Pudovkin. As early as 1916, when Kulishov entered the film industry, he began to devote himself to the study of the laws of film art.

While teaching at the State Film School of the former Soviet Union, he established the "Kulishov Studio" and led students in editing experiments. In 1919, "The Party Fights Differences" broke through the anti-Soviet blockade and entered the film school classroom. Teachers and students repeatedly studied Griffith's bold and delicate editing techniques, and they even re-edited fragments of the film to observe the resulting effect in order to determine Griffith's scissors over and over again.

Some of the film clips that Kulishov used in class have become classics of editing, and the famous "Kulishov effect" is the most representative example.

Montage (French: montage) is a transliterated loanword, originally an architectural term, Lu Tong means to compose and assemble. Often used in three artistic fields, it can be interpreted as an artificially collage and editing technique of time and space with meaning.

The creation and development of the genre of montage cinema in the former Soviet Union is due to the four masters of the art of Kulishov, Vertov, Eisenstein and Pudovkin. As early as 1916, when Kulishov entered the film industry, he began to devote himself to the study of the laws of film art. While teaching at the State Film School of the former Soviet Union, he established the "Kulishov Studio" and led his students in experiments with cutting and grinding.

In 1919, "The Party Fights Differently" broke through the anti-Soviet ban and entered the film school classroom. The students and teachers repeatedly studied Griffith's bold and delicate editing techniques, and they even re-edited the film to observe the resulting effect to determine Griffith's scissors over and over again. Some of the film clips that Kulishov used in class have become classics of editing, and the famous "Kulishov effect" is the most representative example.

The Soviet school of montage systematized and theorized the technique of montage. The control of time and space in film art has been developed, and the real time is elongated by editing different shots, highlighting the content that the filmmaker wants to express.

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Montage was originally an architectural term meaning composition, assembly, and after the invention of film, it was extended to "editing" in French.

Montage is a transliterated loanword, originally an architectural term meaning to compose and assemble, and after the invention of film, it was extended to "edit" in French.

In 1923, Eisenstein published an article "Attraction Montage" in the magazine "Left Literary and Art Front", which was the first to extend montage as a special technique to drama, and later extended to film art in his film creation practice, creating the theory of film montage and the Soviet school of montage.

Composition of the montage:

Montage generally consists of two aspects: picture editing and picture compositing. Picture compositing: A unified picture work formed by the juxtaposition or disposition of many pictures or patterns.

Picture editing: The way or process of making this artistic combination is to arrange and combine a series of shots of the film in different locations, from different distances and angles, and in different methods, to narrate the plot and portray the characters.

The Soviet school of montage.

Founder: Kulishov (1899-1970).

Pudovkin (1893-1953).

Eisenstein (1898-1948).

Vertov (1896-1954).

Du Vzhenko (1894-1965) montage school appeared in the Soviet Union in the mid-twenties of the twentieth century, represented by Eisenstein, Kulishov, and Pudovkin, who sought to explore new means of film expression to express the revolutionary film art of the new era, and their exploration mainly focused on the experiment and research of montage, founded the systematic theory of film montage, and applied the theoretical exploration to artistic practice, creating "Battleship Potemkin", "Mother" and "Land" and other exemplary works of montage art, constituting the famous school of montage.