This paper illustrates that the Kuleshov workshop studied three basic functions or cutting methods, which would very well enhance the film quality. The first function of serving a cut would be in the narrative sense of the film. Through this type of cut, the director, as well as the editor, can very well analyze the actions that have been produced from the psychological processes, which happen within an individual. The second function of a cut was with regards to the intellectual responses, which were generated from the characters in the film. This could very well delve into the interpersonal relationships that could be produced, due to the various thought processes. The third kind of cut that was taught in the Kuleshov workshop was, with respect to the emotions that were being produced within a film due to the interactions among the various characters. Hence such responses were purely produced by the emotions deep within the minds of the individuals. In the case of the second type of cut, that is considered to be purely for an intellectual purpose, was found not only to be serving and challenging the mental thought process but also will sometimes serve the purpose of the narrative cut. As far as Russian films are concerned Eisenstein’s is the greatest master of Montage, which in other words means editing. As per Eisenstein, the essence of the principle of Montage could very well be considered, as the combination of contrast, collision, and conflict. The significance of the basic plot of Battleship Potemkin was that it was a film that was produced in order to depict Russia’s general workers’ revolt. The entire plot revolves around two basic events, one that involved the revolt of the rebellion that took place on the Potemkin that was a battleship. The second event was based on the Odessa reprisals, which occurred between the Cossacks and the Czar’s troops.
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This essay explores the general historical context for Soviet emphasis on film editing, three functions or kinds of cutting studied by the Kuleshov workshop, principles important to each of three kinds of cuttings, and significance and basic plot of Battleship Potemkin…
Film editing involves the process of the manipulation and rearrangement of video shots to form a new work. Editing is usually viewed as a part of the process of video production, with other post-production parts including color correction, titling, sound mixing, and image manipulation, among others.
This was rooted not only to create an artistic style that was a part of expression. More important, there was a link to developing a specific voice about the politics and culture of Soviet Russia, while creating a sense of realism in the films. When comparing the work of “Battleship Potemkin” by Esienstein and “Man with the Camera” by Vertov, it can be seen that there are more similarities than differences.
During the First World War, countable self-owned companies in Moscow and Petersburg were functioning. The companies focused more on domestic films of which was quite well during that time. Most movies by the mid 1910 were melodramas and thus concentrated on magnificent performances by both actors and actresses who were playing personas in great emotional situations.
Cinema started as a recording medium. The camera was just a machine that would record the objects in space in front of it. This recording medium which only later became the most popular and powerful a visual art was used then to record the theatre performances. Then the camera was a static viewer and the recording was continuous demanding no to edit.
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