Lev Kuleshov


Also found in: Wikipedia.
Lev Kuleshov
Lev Vladimirovich Kuleshov
BirthplaceTambov, Russian Empire (now Russia)
Died
Occupation
Film director, screenwriter

Kuleshov, Lev Vladimirovich

 

Born Jan. 1 (13), 1899, in Tambov; died Mar. 29,1970, in Moscow. Soviet motion-picture director, cinema theoretician, teacher, doctor of art studies (1946); People’s Artist of the RSFSR (1969). Member of the CPSU from 1945.

Kuleshov began his motion-picture career as a designer in 1916. A pioneer in Soviet cinema, he played a major role in exploring the unique aspects of cinematic art and in the development of cinematic language, montage, and the technology of shooting film. He directed documentary filming at the fronts in the Civil War of 1918-20, producing the propaganda film On the Red Front in 1920. Kuleshov organized a studio in the State Cinema School in 1919; his students included V. I. Pudovkin, B. V. Barnet, A. S. Khokhlova, and S. P. Komarov.

Kuleshov’s major films included Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924), By the Law (1926; an adaptation of Jack London’s “The Unexpected”), and The Great Consoler (1933, on motifs from O. Henry’s biography). His motion pictures are marked by a tense plot, sharply defined roles, and high pictorial quality.

From 1944, Kuleshov concentrated on teaching at the All-Union State Institute of Cinematography: he was a professor there (1939) and headed the directing studio. Kuleshov wrote studies on the theory and practice of cinematic art, including The Fundamentals of Film Directing (1941), which was translated into many languages. He was awarded the Order of Lenin, the Order of the Red Banner of Labor, and a number of medals.

WORKS

Praktika kinorezhissury. Moscow, 1935.
Azbuka kinorezhissury, 2nd ed. Moscow, 1969.

REFERENCES

Levidov, M. lu. Lev Kuleshov. Moscow, 1927.
Pudovkin, V. “Masterskaia Kuleshova.” Iskusstvo kino, 1940, nos. 1-2.

O. V. IAKUBOVICH

References in periodicals archive ?
Ever since the 1910s, when Soviet filmmaker Lev Kuleshov experimented with the effect film editing has on the audience's emotional reactions to different sequence of images, film editing has attracted scholarly attention in Film Studies as well as in Psychology.
Asi ocurre, por ejemplo, con el capitulo primero, dedicado a definir el termino de montaje y sus variantes o con el capitulo segundo dedicado a las teorias del montaje (vale la pena destacar la capacidad de sintesis y la inmejorable seleccion de aquellas teorias que mayor repercusion han tomado a traves del tiempo): el autor describe, esquematiza y aclara desde los asequibles Lev Kuleshov y Rudolf Arnheim hasta el semiotico Christian Metz, sin descuidar en el capitulo quinto una razonada clasificacion propia.
Asi ocurre por ejemplo con el capitulo primero, dedicado a definir el termino de montaje y sus variantes o con el capitulo segundo dedicado a las teorias del montaje (vale la pena destacar la capacidad de sintesis y la inmejorable seleccion de aquellas teorias que mayor repercusion han tomado a traves del tiempo): el autor describe, esquematiza y aclara desde los asequibles Lev Kuleshov y Rudolf Arnheim hasta el semiotico Christian Metz, sin descuidar en el capitulo quinto una razonada clasificacion propia.
Desde los anos veinte se conoce el asi llamado efecto Kuleshov: un experimento llevado a cabo por el cineasta sovietico Lev Kuleshov para demostrar que las interpretaciones que los espectadores damos a los planos se someten a unas reglas fundamentales que los cineastas pueden usar.
Although brief, this section provides key writings by Maya Deren, Deleuze, Michel Chion, Lev Kuleshov and others on film language and film semiotics.
A Grammar of Murder is divided into two parts: 'Murder and Montage' and 'Murder and Genre.' The more formally focused Part One, as its title suggests, examines the prevalence of and intertwined relationship between murder and montage in the early Soviet Cinema of Lev Kuleshov, Vsevolod Pudovkin, and Sergei Eisenstein, on the one hand, and the more stylistically realist Jean Renoir films of the 1930s, on the other.
The method was originally developed by Lev Kuleshov's now famous experiments of c.
See Kuleshov on Film: Writings by Lev Kuleshov, ed.
Writing about The Fall of the Romanov Dynasty, Lev Kuleshov, the man credited with the invention of montage and not a documentary filmmaker himself, praised Shub's work as being "more interesting, more truthful, and more convincing" than any fiction film could ever aspire to be.
In a two and a half page digression, he expounds on the idea about which he is most passionate: his theory of cinematic montage, how it differs from that of Lev Kuleshov, his former teacher.
Lev Kuleshov considered actors mannequins; Bresson called them models.