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11/07/2016°Characters:VakulinchukSailor MatyushenkoCaptain GolikovSr. Officer GilyarovskyShip Surgeon SmirnovPriest°°Padovkin’s Chess FeverKuleshov’sstudent that used his principlesEvery given shot or selection of shots needs to be clear and legible to give meaningoAlso need clear, smooth, mechanical movementoWith the ordering of shots, meaning is createdoMost important for the soviets: ordering of shots to create meaning Took Kuleshov’s principles and played with hemoThe synthetic woman a woman created with separate shots of different womenAssemblage of shots creates a woman, never see her wholeoTwo different men playing a chess game from close-up of different parts of the manTurns out to be a single man playing against each otherJacket is impossible, in every pocket and sleeve is a cat
Synthetic woman is evokedoCreative geography using shots from different locations to create an imaginary location for the film/sceneDifferent scenes are shot in different locationsYoung bride groom walks out of his house and over to his fiancés oKuleshov effect– shot of an actors face and then juxtaposition with another shot of something that effects how the audience sees the actorShots of various chess games Shots of audience, 1 is boredom, another is excitementDifferent kinds of chess games, but truly are the sameCrowd reaction makes us see the game as exciting or dull Editing is central to Soviet Silent cinemaoDifferent editing choices than other nationsE.g. Hollywood continuity, invisible editingE.g. Citizen Kane mise en scene editing, tremendous foreground, background action, long takes, set like a stage°Battleship Potemkin very different from continuity editingPrinciples of Soviet Montageoi) the assemblage of separate partsoii) the juxtapositioning of fragmentsoiii) the need for the spectacle to connect and make linkbetween these separate elementsneed for the viewer to make connections between shots oMost feature length films had on average 600 shots
1346 shots for Battleship PotemkinHow these shots are arranged makes the film what it isUntil Eisenstein, most films were editing along the lines of the logical progression of the narrativeIndividual shots would be long enough to show a continuous narrations and would be linked to the