Sergei Eisenstein
Designed propaganda posters to help keep up morale while in the Red Army (Soviet army created by Communist government after the revolution)
Attended Kuleshov's workshop
He uses Metric, Rhythmic, Tonal, Overtonal and Intellectual for his montages
Dziga Vertov
He worked as a newsreel cameraman.
Coined the term Kino Eye (film eye) and believed that the world is seen more clearly through the eye of the camera than the human eye and cinema should be real and truthful.
Disagreed with Eisenstein’s theory of narrative film making and believed conventional fiction storytelling to be corrupting.
Cut his film images together due to thematic connections or for emotional effects of juxtaposition.
Attempted to create a unique language of cinema free from theatrical influence and artificial studio lighting – to show cinema that captured real life.
His frenetic montage style was unmatched until the era of the music video.
His work and theories influenced the documentary realism (cinema verite) in the 1960’s.
Vsevolod Pudovkin
Designed propaganda posters to help keep up morale while in the Red Army (Soviet army created by Communist government after the revolution)
Attended Kuleshov's workshop
He uses Metric, Rhythmic, Tonal, Overtonal and Intellectual for his montages
Dziga Vertov
He worked as a newsreel cameraman.
Coined the term Kino Eye (film eye) and believed that the world is seen more clearly through the eye of the camera than the human eye and cinema should be real and truthful.
Disagreed with Eisenstein’s theory of narrative film making and believed conventional fiction storytelling to be corrupting.
Cut his film images together due to thematic connections or for emotional effects of juxtaposition.
Attempted to create a unique language of cinema free from theatrical influence and artificial studio lighting – to show cinema that captured real life.
His frenetic montage style was unmatched until the era of the music video.
His work and theories influenced the documentary realism (cinema verite) in the 1960’s.
Vsevolod Pudovkin
Pudovkin theorised that actors on screen do not really act, it's their context that moves us - something established through montage, by their relationship to exterior objects.
He said that “The lens of the camera replaces the eye of the observer, and the changes of angle of the camera–directed now on one person, now on another, now on one detail, now on another–must be subject to the same conditions as those of the eyes of the observer”.
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