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Videomaker
 * Video
 * Learn
   * Shooting
     * Aerial Cinematography
     * Camera Equipment
     * Camera Movement
     * Camera Settings
     * Composition
     * Files and Formats
     * Green Screen
     * Visual Storytelling
   * Editing
     * Color Correction
     * Editing Technique
     * Motion Graphics
     * Visual Effects
     * Workflow
   * Audio
     * Audio Editing
     * Audio Recording
     * Sound Design
   * Lighting
     * Lighting Design
     * Lighting Equipment
   * Directing
     * Film History
     * Management
     * Storytelling
   * Planning
     * Casting
     * Organization
     * Writing
   * Profitmaking
     * Budgeting
     * Distribution
     * Promotion
     * Sales
   * Technology
     * Anamorphic Lenses
     * HDR Video
     * HLG — Hybrid Log Gamma
     * How Image Sensors Work
     * How Lenses Work
   * More Topics
     * Documentary
     * Photography
     * Hacks
     * Legal
     * Online
     * Spherical Video
 * Buyer’s Guides
   * Cameras & Lenses
     * DSLR & Mirrorless Cameras
     * Cinema Cameras
     * Camcorders
     * Smartphones
     * Drones
     * 360 Cameras
     * Lenses
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   * Software
     * Video Editing Software
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 * Editing
 * Editing Technique


KULESHOV EFFECT: A FILMMAKER’S MOST POWERFUL TOOL

The Kuleshov Effect influences every film and every filmmaker. Understanding it
can give insight into “movie magic” and creating the meaning you want to be
expressed in your project.

By
Erik Fritts
-
July 21, 2015

The Kuleshov Effect is the single most important concept to editing, if not to
filmmaking itself. It’s a cornerstone of visual storytelling; through this
phenomenon that we can suggest meaning and manipulate space, as well as time. It
is a fundamental aspect of “movie magic,” one which every filmmaker and video
editor needs to understand.


KULESHOV EFFECT AND FILM THEORY

Lev Kuleshov (1899-1970), was a Russian filmmaker, considered by some to be the
first film theorist due to his work dating to the 1910s. Kuleshov asked the
question: what made cinema a distinct art, separate from photography, literature
or theatre? He found that any form of art consists of two things, the material
itself and the way in which the artist organizes the material. Following this
logic, Kuleshov found that the organization of individual shots, also known as
montage, is what makes film stand apart.

In 1921, Kuleshov set up a series of cinematic demonstrations which gave the
phenomenon its name. In these experiments, he projected the face of a well-known
actor, then cut to a plate of soup, he then showed another shot of the same
actor, then a girl in a coffin, the final sequence was the actor’s face, then an
attractive young woman.



Audiences responded that the actor seemed in the first sequence to be hungry, in
the second, quite mournful and finally seemed to exude lust. In reality, all
three shots of the actor were the exact same, his face was interpreted
differently based on what it was put next to in the edit. Additionally, even
though there was no establishing shot of the actor together with objects from
the other shots, they seemed to the audience to be in close proximity to one
another.

Through the ordering of the shots, two separate places seemed to be one whole
continuous location to the audience. Manipulating space and time was possible
through the use of editing. This was a huge moment for cinema, with Kuleshov
declaring montage to be the central principle that defines film as an art on its
own.

> This was a huge moment for cinema, with Kuleshov declaring montage to be the
> central principle that defines film as an art on its own.

Kuleshov’s theories were instrumental in the creation of a powerful genre of
filmmaking, Soviet Montage, which Stalin eventually supressed. But the Kuleshov
Effect lives on, exemplified in almost every film or video that we encounter.




AN EXAMPLE

The following series of stills from “The Wolf of Wall Street” demonstrates the
Kuleshov Effect in practice. Notice that the exact same shot of Leonardo
DiCaprio can take on a different of meanings, depending on the shot next to it
in the montage.

This is the original sequence of shots from the film, DiCaprio is seen driven by
lust. Also, although there is nothing showing the two actors together, we seem
them as being in the same room.

Stills from “The Wolf of Wall Street”

Here, by replacing just the second image, DiCaprio’s tone seems more somber,
almost mournful of the damaged Lamborghini. The difference in backgrounds make
condensing space more problematic, but the inclusion of the curtains in the
first image gives an impression that DiCaprio could be looking out a window to
see the mangled car.


Stills from “The Wolf of Wall Street”

Again the exact same shot of Leonardo DiCaprio, but here he seems hungry,
clearly transfixed on the donuts. Again, although we don’t see them together in
one shot, it seems that DiCaprio and the donuts are together the same room.

Stills from “The Wolf of Wall Street”

In each case, through the Kuleshov Effect, the audience creates and imposes
their own meaning onto uninflicted individual shots.


RUSSIA’S CONTRIBUTION TO FILM HISTORY

Russian film theorists in the early 1900s were hugely influential in shaping how
cinema was to develop. They saw film as a powerful tool of social
transformation, inherently political and inextricably linked to the filmmakers’
worldview. Kuleshov’s contemporaries explored the power of montage and their
innovations paved the way for contemporary filmmakers.



Sergei Eisenstein promoted had the idea that the essential element of all art is
conflict. Eisenstein advocated dialectic montage — that a sequence of shots can
have more meaning the the sum of its individual parts. He was inspired by his
study of Japanese Kanji which juxtaposed two concepts to create a new third
concept.  Eisenstein’s films “Battleship Potemkin” (1925) and “Strike” (1925)
are both classics of Russian cinema.

Dziga Vertov eschewed dramatic films as a corrupting influence. An early
experimenter in the realm of documentary, Vertov pioneered many modern staples
of filmmaking in his newsreels. In 2014, “Sight and Sound” named his film, “Man
with a Movie Camera” (1929), the best documentary ever.


WHAT DOES THE KULESHOV EFFECT MEAN FOR YOU?

Understanding the Kuleshov Effect allows editors to better control the tone and
meaning found in their films. Through an editors choices in how they organizes
shots, filmmakers can create new meaning by juxtaposing unrelated images. With
the illusion of condensing space, we are able to create new worlds, connecting
places that were previously separate. Thus, the Kuleshov Effect is a huge part
of the magic that is film.



 * TAGS
 * Editing
 * Fundamental
 * Planning
 * shooting
 * why

Erik Fritts
http://ErikFritts.com
Erik Fritts is a writer and filmmaker who has produced media for CBS, The US
Fish and Wildlife Service, Berkshire Hathaway, and more. He has a BA in Film
from CSU Sacramento, and an MFA from USC School of Cinematic Arts,
Instagram Linkedin Twitter


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