Montage in Cinematography—Lev Kuleshov and Sergei Eisenstein

by Renato Corghi

Reading 1: Montage as the Foundation of Cinematography by Lev Kuleshov

Purpose: Lev Kuleshov makes his purpose for writing this piece clear: to familiarize reader with the work of the Kuleshov group. More specifically, he is relating the process by which he developed his theory about montage and what his findings were. He breaks this process down into separate chronological stages.

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Lesson Plan: Cinematic Editing—from Bricks to Collisions to Un-linkage


Ian here—

When teaching cinema studies at a whirlwind pace, my next stop after the lesson plan on basic terms I posted a few weeks ago is to devote a class to montage. The particular lesson plan here is one I used in my Avant-Garde Film and Video Art class, so it’s geared toward giving students a vocabulary for digesting for some of the more striking forms of associative cutting we’ll see over the course of the class.

This particular permutation on my usual lecture occurred following a screening rich with films composed either in whole or in part from found footage: Take the 5:10 to Dreamland (Bruce Conner, 1976), The Exquisite Hour (Phil Solomon, 1994) and Is This What You Were Born For?, pt 7: Mercy (Abigail Child, 1989). The readings I had students do were “Montage as the Foundation of Cinematography,” a chapter from Lev Kuleshov’s The Art of Cinema, Sergei Eisenstein’s “The Cinematographic Principle and the Ideogram,” and Abigail Child’s “Locales” interview with Michael Amnasan, reproduced in her book This Is Called Moving: A Critical Poetics of Film.

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