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Topic: Kuleshov Experiment

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Ivan Mozhukhin

Lev Kuleshov

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	Forum: The University of Edinburgh Postgraduate Journal of Culture and the Arts
		Kuleshov's early montage experiments, as well as their role in establishing montage cinema on a theoretical basis, had profound implications for the concepts of originality and authorship in the making of films, the same concepts which were later foregrounded by the Nouvelle Vague critics and by Roland Barthes.
		Kuleshov showed that, as Barthes said of the literary text, a film's "unity lies not in its origin but in its destination" (Barthes 148); that is, it is in the mind of the spectator rather than the auteur that the film's fragments are unified and given meaning.
		While Kuleshov was always careful to keep his films clear and 'intelligible to the masses', the later development of montage cinema in the work of Eisenstein and Dziga Vertov led to films which were considered by the Soviet authorities to be unusable as propaganda, being too abstruse and difficult for peasants and workers to understand.
	forum.llc.ed.ac.uk /issue1/Russell_Kuleshov.html (4101 words)

	Encyclopedia Search
		Experiment showed the ability of viewers to associate emotions with...
		used the experiment to indicate the usefulness and effectiveness of...
		Experiment established that montage is one way of...
	www.encyclopedian.com /search.php?searWords=Kuleshov (106 words)

	Kuleshov Effect - Wikipedia, the free encyclopedia
		Kuleshov edited a short film in which shots of the face of Ivan Mozzhukhin (a Tsarist matinee idol) are alternated with various other shots (a plate of soup, a girl, a old woman's coffin).
		In Kuleshov's view, the cinema consists of fragments and the assembly of those fragments, the assembly of elements which in reality are distinct.
		The montage experiments carried out by Kuleshov in the late 1910s and early 1920s formed the theoretical basis of Soviet montage cinema, culminating in the famous films of the late 1920s by directors such as Sergei Eisenstein, Vsevolod Pudovkin and Dziga Vertov, among others.
	en.wikipedia.org /wiki/Kuleshov_Experiment (546 words)

	Central Europe Review - Film: Lev Kuleshov (Site not responding. Last check: 2007-10-12)
		Kuleshov's Porter even says to her "Your heart is beating too loudly, Dulcie,"[22] one of several significant uses of the heart motif in the film and a clear reference to the real-life O Henry's refusal to write about her.
		Unlike O Henry, Kuleshov refused to remain silent about the reality he saw around him, and his last act of resistance in the role of director was to create a brave work that presented his experiences as an artist and was a bitter comment about a reality that seemed too absurd to be real.
		Kuleshov's irony and fine sense of kitsch have gone almost completely unappreciated by critics and audiences, who have, on the whole, taken his unadulterated schmaltz at face value and been thoroughly baffled by the erratic fragmentations in the plot.
	www.ce-review.org /99/20/kinoeye20_horton.html (6648 words)

	Kuleshov Experiment
		Lev Kuleshov was an early Russian filmmaker who believed that juxtaposing two unrelated images could convey a separate meaning.
		In his experiment he filmed Mozhukhin, a famous Russian actor, and shots of a bowl of soup, a girl, a teddy bear, and a child's coffin.
		He then cut the shot of the actor into the other shot; each time it was the same shot of the actor.
	www.ebroadcast.com.au /lookup/encyclopedia/ku/KuleshovExperiment.html (101 words)

	Understatement and the Kuleshov Effect in Kubrick's 2001
		Then "Kuleshov intercut it with various shots the exact content of which he forgot in his later years..." but which, according to his associate Vsevolod Pudovkin, comprised a bowl of soup, a woman in a coffin, and a child with a toy bear.
		Kuleshov switched the shots, so the starving man saw the open door and the prisoner looked at soup, and there was no noticeable difference.
		Kuleshov performed no experiments to this end, but the principle is the same: we garner from the film an emotion, a strong one, that the film does not actually show us.
	www.ambiguous.org /robin/word/kuleshov.html (2859 words)

	More on Experiment
		To demonstrate a cause and effect hypothesis, an experiment must often show that, for example, a phenomenon occurs after a certain treatment is given to a subject, and that the phenomenon does not occur in the absence of the treatment.
		The experiment begins by creating two or more sample groups that are probabilistically equivalent, which means that measurements of traits should be similar among the groups and that the groups should respond in the same manner if given the same treatment.
		Such experiments are generally double blind, meaning that neither the volunteer nor the researcher knows which individuals are in the control group or the experimental group until after all of the data has been collected.
	www.artilifes.com /experiment.htm (2143 words)

	Orbital Reviews: Mother (1926) (Site not responding. Last check: 2007-10-12)
		Kuleshov devised an experiment, now famously called the Kuleshov effect, where a viewer would see three different images (a bowl of soup, a dead woman in a coffin, and a girl playing with a toy bear) with footage of an actor placed between each of them.
		Viewers interpreted the actor's expressions as being different in each shot and relating to the images, but in fact the three shots of the actor, one after each image, were exactly the same.
		Pudovkin not only helped with Kuleshov's experiment, but he also was part of the Kuleshov group as a performer.
	www.orbitalreviews.com /movies/Mother.html (1147 words)

	SoundClick artist: Kuleshov Effect - Organic, honest and powerful rock.
		Kuleshov Effect is currently on indefinite hiatus but there is a possibility that the project may be revived sometime in the future.
		Kuleshov edited a short film in which shots of the face of Ivan Mozzhukhin (a Tsarist matinee idol) are alternated with various other shots (a plate of soup, a woman, a child's coffin).
		The film was shown to an audience who believed that the expression on Mozzhukhin's face was different each time he appeared, depending on whether he was `looking at' the plate of soup, the woman, or the child's coffin, showing an expression of hunger, desire or grief respectively.
	www.soundclick.com /kuleshoveffect (355 words)

	Lev Kuleshov - Films as Director:, Other Films:
		Lev Kuleshov is known to Russian filmmakers quite simply as the "father of Soviet cinema." He began his career in cinema before the Revolution working with Evgeni Bauer and became one of Soviet cinema's leading film directors and theorists.
		But Kuleshov also appreciated the importance of acting and was responsible for developing the notion of the actor as naturshchik or "model," deriving from the Delsartian school of acting technique.
		Throughout his career Kuleshov was an eminent teacher: in 1939 he was made a professor at the State Institute of Cinema, and in 1944 he became its director.
	www.filmreference.com /Directors-Jo-Ku/Kuleshov-Lev.html (1426 words)

	Film's Illusions: Kuleshov Revisited
		The intensity of the film-viewing experience can be illustrated by the fact that screen images may produce strong physiological reactions by the viewer, including increase of heartbeat rate, nausea, and vertigo.
		The effect discovered by Kuleshov and its practical use by filmmakers in the editing process pertain mainly to the contextual relationships within the structure of the film (or other audio-visual) work as a whole.
		In fact, Kuleshov's original experiment involved an isolated shot of the actor Ivan Mozhukin (Mosjoukine) juxtaposed with shots of other isolated images; Kuleshov commented on results of these juxtapositions without including them into a complete film work, or an explicit narrative sequence.
	www.kinema.uwaterloo.ca /ju-952.htm (2835 words)

	Montage (Site not responding. Last check: 2007-10-12)
		In motion picture terminology, a montage (literally "putting together") is a form of movie collage consisting of a series of short shots which are edited into a coherent sequence.
		Viewers infer meaning based on context; Lev Kuleshov, in his Kuleshov Experiment established that montage is one way of leading the viewer to reach certain conclusions about the action in a film.
		Griffith was one of the early proponents of montage, introducing cross-cutting to show parallel action in different locations, and codifying film grammar in other ways as well.
	www.guajara.com /wiki/en/wikipedia/m/mo/montage.html (188 words)

	anbib1
		Two experiments Douglas points to focus on people creating spatial and chronological relationships between objects which are not related, and their inability to interpret such relationships when they actually occur, opting instead for an overall recognized pattern when the whole is given.
		The first experiment dealt with the movement of animated objects across a screen (Michotte) and though the objects were never put together on the screen, the subjects in the experiment arranged them to coincide with generally accepted conventions of space and time.
		The experiment was a physical reconstruction of a text Douglas had cut up and given to his class, the results were that the class looked for the overall view of what the story once looked like to create a reference point.
	wiz.cath.vt.edu /cgi-bin/hnews/get/hthl96-ab1/12.html (1677 words)

	Norman N. Holland, The Critical I
		Pudovkin, described an experiment that has since passed into the mythology of film as "the Kuleshov effect." I say the "mythology" of film because it is not clear exactly what happened in the experiment.
		Kuleshov himself, in an interview published when he was sixty-eight, recalled that they had kept their experimentally edited films around for years, looking at them repeatedly, until they were destroyed during World War II.
		When Kuleshov's audience projected the emotion appropriate to the soup, woman, or child onto Mosjukhin's face, the uniformity of their response shows they were using codes, but not codes for reading neutral facial expressions.
	web.clas.ufl.edu /users/nnh/criti.htm (21324 words)

	Film Editing \| Activity 2 \| Teacher's Resource Guide \| YMI, Ltd./AMPAS
		Part B. In the 1920s, Russian filmmaker Lev Kuleshov conducted a series of experiments designed to demonstrate that when two separate shots are projected in succession, the viewer assumes a connection between them.
		In one experiment, Kuleshov spliced together a series of shots that had been taken in different places and at different times.
		Kuleshov's viewers—who interpreted the sequence as a man and a woman meeting at the gate in front of the mansion—had, in essence, inferred a whole narrative on the basis of seeing only portions of it.
	www.oscars.org /teachersguide/filmediting/activity2.html (691 words)

	175.775 Narrative Perspective: Dramaturgy [14] (Site not responding. Last check: 2007-10-12)
		Later psychological explanations in line with the cognitive revolution's challenge to behaviorism argued that viewers are active creators of their perceptual experiences: the meaning of the juxtaposed images and sounds are constructed via cognitive processes such as memory and judgment.
		A famous example of experimental cinematic effects is the supposed Kuleshov Experiment of the early 1920s (perhaps as early as 1919) when the very young Lev Kuleshov joined his collaborator, Vsevolod I. Pudovkin, in assembling film clips in differing ways.
		Further, it is never clear who served a subjects of the experiment and, if they were actually intellectual acquaintances of Kuleshov, may have understood ahead of time what the "experiment" was supposed to have shown.
	therapy.massey.ac.nz /diplomademo/175775/175_775_Dramaturgy.htm (4346 words)

	Justin's Links: Robin in Wonderland
		Experimental, a cavalier evolution of the Kuleshov experiment.
		Here that sensual experience is augmented by radical reconfigurations of beauty - my hope is that the suspension of ordinary rules of attraction augments the viewer's entry into a zone of virtual pleasure.
		It was an experiment with techniques used in the Kuleshov experiment - Robin's gaze prompts the viewer to relate, emotionally.
	www.links.net /daze/04/10/07/robin_in_wonderland.html (1081 words)

	Critical Themes in Media Studies (Site not responding. Last check: 2007-10-12)
		Abstract: The Kuleshov Experiment conducted in Russia in 1919, concluded that viewers find meaning in the juxtaposition of unrelated shots.
		In this study a video recreating the shots of the Kuleshov Experiment was used as a stimulus and an instrument with open-ended questions was used to test participant responses.
		The results of this quasi-experiment determined that a new generation of viewers exposed to a wider variety of visual messages differed in their observations to the replication of the Kuleshov Experiment finding no connection between the shots, ignoring the Gestalt effect of the images, and perceiving the repetition of the close-up.
	beard.dialnsa.edu /~treis/technology.html (530 words)

	Modernity: a film by Alfred Hitchcock
		The reference is, of course, to Kuleshov's famous experiment involving the juxtaposition of images of the immobile face of the actor Moszhukin with a variety of objects, in which audiences were found to imagine a change of expression on the actor's face.
		Pascal Bonitzer mentions this experiment in his essay "Hitchcock's suspense," as a moment in his genealogy of a newly expressive form of cinema, a pure cinema of the gaze, which involves an immobile body as well as an immobile face.
		Film might be said to mime this experience in that it too can provoke, quite commonly, a visceral sense of shock, a phenomenon which is intimately tied to its technological foundations.
	www.sensesofcinema.com /contents/00/6/modernity.html (3518 words)

	MeVideo
		In the past, the use of a film positive (not the original negative) allowed the editor to do as much experimenting as he or she wished, without the risk of damaging the original.
		Although, strictly speaking, U.S. film director D.W. Griffith was not part of the montage school, he was one of the early proponents of the power of editing - mastering cross-cutting to show parallel action in different locations, and codifying film grammar in other ways as well.
		Griffith's work in the teens was highly regarded by Kuleshov and other Soviet filmmakers and greatly influenced their understanding of editing.
	www.mevideo.com /pro-videos.html (1292 words)

	http://xft001/classes/intlfilm/sovietmontage.htm (Site not responding. Last check: 2007-10-12)
		The conclusion Kuleshov drew out of the experiment was that yes, the shot as value in that it possesses a photographic image of reality, but that it acquires further value when in relationship to other shots.
		Kuleshov edited a shot of a man in Moscow with a shot of in Washington, D.C. with a shot of the man walking up the stairs of a church in Moscow.
		Pavlov did experiments on dogs indicating that the introduction of stimuli could produce instinctual responses (when you ring a dinner bell, dogs can be taught to salivate on command).
	www.montana.edu /metz/website/intlfilm/sovietmontage.htm (3023 words)

	continuity editing 2 (Site not responding. Last check: 2007-10-12)
		" Kuleshov switched the shots, so the starving man saw the open door and the prisoner looked at soup, and there was no noticeable difference.
		In the Kuleshov experiment he filmed Ivan Mozhukhin, a famous Russian actor, and shots of a bowl of soup, a girl, a teddy bear, and
		Kuleshov used the experiment to indicate the usefulness and
	www.sfu.ca /~ccbaker/webspace/MI06_site/week3/wk3-continuity2.htm (1570 words)

	Kuleshov experiment - One Language (via CobWeb/3.1 planetlab2.cs.unc.edu) (Site not responding. Last check: 2007-10-12)
		Kuleshov experiment - One Language (via CobWeb/3.1 planetlab2.cs.unc.edu)
		In the Kuleshov experiment he filmed Ivan Mozhukhin, a famous Russian actor, and shots of a bowl of soup, a girl, a teddy bear, and a child's coffin.
		Viewers felt that the shots of the actor conveyed different emotions suggested by the other stimulus, though each time it was in fact the same shot.
	www.onelang.com.cob-web.org:8888 /encyclopedia/index.php/Kuleshov_Experiment (192 words)

	Hypertext Syntagmas, Miles, JoDI (via CobWeb/3.1 planetlab2.cs.unc.edu) (Site not responding. Last check: 2007-10-12)
		No one, however, has paid sufficient attention to the fact that, in the midst of the age of "montage or bust," there existed another interpretation of those famous experiments.
		With a kind of shrewdness peculiar to him, the Hungarian theoretician remarked that, if montage was indeed sovereign, it was so by necessity, for, when two images were juxtaposed purely by chance, the viewer would discover a "connection." That, and nothing else, is what Kuleshov's experiments demonstrated.
		He concludes that the famous experiments in no way authorize the theory of "montage or bust" (according to which the diegesis is marginal to the development of montage effects, which tend to produce an abstract logic, or piece of eloquence, independent of the film itself).
	hypertext.rmit.edu.au.cob-web.org:8888 /essays/jodi/reading/metz/metze.html (219 words)

	LawGeek: We fought the Kuleshov effect and The Law won?
		Ergo, when Kuleshov acquired his films, he could remix them anyway he wanted because he was only manipulating the one copy he owned, not making any additional ones.
		Therefore, if families want to use technology to "remix" the experience of the movie for themselves without profanity, violence, or sex, copyright should not (and in fact cannot) stand in the way.
		That is, the Kuleshov effect is merely the fact that the semantics of a piece of media can change depending on neighboring (in time or space) media.
	lawgeek.typepad.com /lawgeek/2004/01/zephoria_kulesh.html (2302 words)

	apophenia: Kuleshov effect and remix culture
		One of the weirdest things about December and May is that my brain is always so full of academic concepts that they somehow manage to get integrated into many conversations.
		At the Creative Commons party, i found myself talking to lawyers about the Kuleshov effect and its relevance to remix culture.
		In addition to his style of film, he's known for something called the Kuleshov Experiment.
	www.zephoria.org /thoughts/archives/2003/12/29/kuleshov_effect_and_remix_culture.html (994 words)

	Film editing Info - Bored Net - Boredom (Site not responding. Last check: 2007-10-12)
		It seemed to agree with their revolutionary ideas and seemed also to be the artistic expression of the Hegelian Dialectic.
		(See also the Kuleshov Experiment.) Sergei Eisenstein attempted to create a scientific basis for editing, which he referred to as "montage."
		Film editing evolved from the process of physically cutting and taping together pieces of film, using a viewer such as a Moviola or Steenbeck to look at the results.
	www.borednet.com /e/n/encyclopedia/f/fi/film_editing.html (429 words)

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