Soviet Cinema Flashcards
Terms : Hide Images [1]
| 10991078481 | Kuleshov Effect | omitting a scene's establishing shot and leading the spectator to infer continuity | 0 | |
| 10991078482 | Basic Principles of Kuleshov Effect | the shot has meaning in and of itself as an image of reality the shot has meaning when it is placed in relation to other shots it is editing that creates meaning -- led to theories of montage | 1 | |
| 10991078483 | socialist realism- the ideological content | any work of art had to represent realistically the socialist ideals of the Soviet Union | 2 | |
| 10991078484 | formalism- deadly sin | the privileging of the aesthetic form over its ideological content | 3 | |
| 10991078485 | Soviet Montage Form and Style: Genre | often about revolutionary moments | 4 | |
| 10991078486 | Soviet Montage Form and Style: narrative | more about social forces and class conflicts than the struggle of the individual protagonist | 5 | |
| 10991078487 | Soviet Montage Form and Style: Editing | Overlapping editing: one action from different perspectives Elliptical cutting (the jump cut) Rhythmic editing Parallel editing and the "non-diegetic insert" Graphic contrasts from shot to shot | 6 | |
| 10991078488 | Characteristics of Soviet Montage Film | Special effects Non-traditional camera angles and camera movements Mise-en-scène: realistic with specific elements to heighten impact Lighting to heighten emotional impact Casting/acting: non-professional actors and typage (eccentricity) Later important for Italian Neorealism | 7 | |
| 10991078489 | Eisenstein theoretical /montage theory | -an expressive or symbolic process whereby seemingly dissimilar images could be linked together to produce metaphors -montage as collision or conflict between shot and its successor each shot has potential energy conflict as expression of Marxist's dialectic principle -meaning created thru the collision of attractions (ideas) Thesis + antithesis = synthesis (A + B = C) -interactions of shots produces meaning; conflict produces dynamism every shot has dominant attraction and many subsidiary ones, but ultimate goal is unity | 8 | |
| 10991078490 | Role of Spectator | film as psychological machine designed to shock the spectator, who has an active role in the formation of its meaning unlike Hollywood films -- spectator in trance-like state | 9 | |
| 10991078491 | Film Text (specter's role) | the space where filmmaker and spectator are united - the final unified image destined for the spectator | 10 |