They produced films which were dream like with flawless linear narrative and with little relation with the realities of life outside the theatre. They conceived of a star system to help the marketing of these films. Hollywood films were exported all around the world and just after the World War 1 Hollywood Cinema was the major influence in the world of cinema globally. Both the German expressionism as well as the Soviet Montage movement countered this Hollywood supremacy and its concept of Cinema.
The Soviet Montage: Cinema had evolved a language through the classics of Edwin Porter (The Great Train Robbery – 1905) and D.W Griffith (Birth of a Nation -1915), both of course from Hollywood. But it was the era of silent Soviet cinema of the 20s that gave this language a grammer.The grammer is decided by the director and not by the actor. Actor, unlike in the Hollywood star system was yet another object in front of the camera.
After the 1917 October revolution, young film makers in Soviet Union, began working on building a new cinema for the new society. They experimented with the camera and with the shots on the edit table. Lev Kuleshov (1899-1970) was the leader of these experiments in the State Film School. His famous experiment with the stock shot of the face of the actor Ivan Mosjoukin proved that a single shot generated no particular meaning. Two shots juxtaposed and clashing with each other generate a concept or idea in the mind of the spectator. Thus cinema happens not on the screen but in the mind of the spectator. Sergei Eisenstein, the most famous disciple of Kuleshov, clarifies it like this: “A work of art understood dynamically is just a process of arranging images in the feelings and minds of the spectator (Word and Image, Film Sense PP 17). Vsevolod Pudovkin (Mother -1926) and Dziga Vertov (The Man with a