“Language is much closer to cinema than painting” (Sergei Eisenstein). There were very few men and women in cinema who strived to make a difference in cinema during the Russian Revolution of 1917. The young people of that time wanted to create a revolutionary theme, form and style. Most Russian films made before the revolution were dark, slow-paced melodramas, featuring bravura performances from leading stars. Young Russian filmmakers were influenced by the American cinematic style with continuous editing and extroverted, athletic performances in westerns and comedies. Russian filmmakers have pushed their limits in the process of creating a new and different set of cinematic tools. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”?Get the original essayThe first leader of the revolution was Vladimir Lenin and he established the Union of Soviet Socialist Republics in October 1917. Narkompros, founded in 1918, controlled the Soviet film industry. Narkompros established the first national film school in 1919. A year later, Lev Kuleshov joined the national film school and formed workshops. Kuleshov attempted to systematize the principles of editing based on the emerging Hollywood style. Kuleshov experienced the importance of montage and developed the central idea of ​​montage theory and style. The main aspect of the Soviet editing style was in the area of ​​editing. The cuts must stimulate the viewer. Unlike continuity editing, cutting editing often creates superimposed or elliptical temporal relationships. Kuleshov's workshops are legendary. They were known as the Kuleshov Group, Pudovkin was one of his students; Eisenstein studied with him for three months, but was influenced by Kuleshov throughout his life; sometimes like a rival; later as a dear friend. The legendary Alfred Hitchcock, decades apart and in America, called it "pure cinema", when editing gives rise to meanings that exist nowhere to the naked eye, but only in the mind. This mixed play between editing, perception and meaning is now known as the “Kuleshov effect”. At the age of 26, Sergei Eisenstein directed his first feature film Strike, the first major film of the Montage movement. It was released in 1925. He had been inspired by cinema after watching Griffith's Intolerance. The general notion of Sergei Eisenstein's Montage was the collision of elements: shots should not be seen as related, but rather as being in conflict with each other. The audience can create a new concept in their mind by realizing the conflict between the elements. Continuity editing was revolutionary in its time, but early Soviet filmmakers, including Kuleshov, Vsevolod Pudovkin and Eisenstein, took editing to another, more creative and psychological level, first with the "Kuleshov effect", then with Eisenstein's theory of montage, or as he called it, "montage of attractions". Keep in mind: this is just a sample. Get a personalized article from our expert writers now. Get a Custom Essay In conclusion, Eisenstein's montage theory and his films led the way in the cinema history books. He was the pioneer of Soviet cinema that helped usher in the modern era of filmmaking and editing. Soviet editing revolutionized the way films were made, allowing filmmakers to explore the psychological effects of different shot arrangements and durations, instead of..