In what year of the twentieth century was the birth of the Soviet 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, 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.

Montage is a transliteration of the French word montage, which was originally an architectural term meaning assembly, installation. Film and television theorists have extended it to the field of film and television art, which refers to the combination of editing in the creation process of film and television works. The meaning of "montage" is broad and narrow.

Montage in a narrow sense refers to the means of arranging and combining elements such as shots, sounds, and colors, that is, in post-production, the recorded materials are carefully arranged according to the literary script and the director's overall idea to form a complete film and television work. The most basic meaning of this is the combination of images. Film aesthete Bella Balazs talks about:

Montage is a process in which the film artist connects a number of shots in a preconceived order, and as a result, the frames produce a certain desired effect through the sequence itself. It can be seen that montage is not the same element as the shot, montage is the rule of assembling these elements, and it is a rhetorical device in the symbol system of film and television language. Montage in a broad sense not only refers to the assembly of shots, but also refers to an artist's unique way of thinking in the whole process from the beginning of the film and television drama to the completion of the work.

In this sense, Pudovkin's famous statement that "the foundation of cinematic art is montage" is still relevant today, and most likely forever.

Montage, as a technique and a body of thinking, has a deep-rooted foundation in human psychology.

Mid-twenties of the twentieth century.

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.

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.

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.

Representatives of the Soviet theory of "montage" are (ABCD).

a.Eisenstein.

b.Pudovkin.

c.Kulishov.

d.Bazin. <>

The montage theory mainly refers to the montage theory represented by Vertov, Kulishov, Eisenstein, Pudovkin and others in early films. The commonly known theory of montage does not encompass all views on the problem of montage. Griffith, Chaplinchauna, Rainer Claire, Fellini, Einheim, Mitri, etc. in the West.

In the Soviet Union, Duvzhenko, the Vasilyeh brothers, Kozintsev, Yutkievich, Rohm, Gerasimov, and others all gave their own interpretations of the problem of montage. But the Soviet school's view of montage has a certain inheritance, and even in the early stages it underwent a certain process of development.

The view that is more common in Soviet film theory circles is that montage is not only a means of expressing the connection of individual filmed clips so that the audience can obtain a complete impression of the continuous development of action, but also the most important artistic method of turning the hidden inner connection of various phenomena into obvious and self-evident.

The school of montage was born and developed in the 20 30s of the 20th century, when in the process of overthrowing tsarist rule and establishing a socialist state, a powerful propaganda was needed**; The Montage School came into being, so the Montage School can be regarded as an art school with an ideological function;

At the same time, the school of montage was inevitably influenced by the avant-garde movement that broke out in Europe; The Montage School in the former Soviet Union conducted a lot of study and research on American films, especially Griffith films.

The Soviet school of montage.

Founder: Kulishov (1899-1970).

Pudovkin (1893-1953).

Eisenstein (1898-1948).

Vertov (1896-1954).

Du Furenko (1894-1965).

Pudovkin, the theoretical founder of the Soviet school of montage.