In light of today’s conversation concerning image-narrative, I give to you the “Kuleshov Effect.”
Lev Kuleshov was a Soviet filmmaker and theorist, that was influenced enormously by Vladimir Gardin. Gardin is often considered the father of the Soviet montage style, as he delivered many crucial concepts at a conference of some significance. In a temporal context, Kuleshov preceded both Eisenstein (Ivan the Terrible), and Pudovkin. Whereas Eisenstein incoporated dramatic shot juxtapositions, and extreme transitions (for example, the movement from extreme long shot to extreme close up), and Pudovkin attempted multi-shot builds emphasizing particular themes (long shot, medium shot, close-up, medium shot, etc.), Kuleshov was interested in a shot technique consisting of three seperate and distinct shots. He created what are most often termed or considered agitational films.
The three shots would consist of different elements emphasizing important themes. In juxtaposition, these shots insist a certain associational aspect; a relationship, perhaps narrative, between each shot. Yet, at the very same time, a typical or full narrative is denied. This seems very similar to the images and brief narrative provided at the MOCAD.
