Because of Lev Kuleshov and other filmmakers that came after, we now know that meaning is attained not from the images themselves, but their juxtaposition the act of putting it all together. Griffith, approached editing from a practical standpoint – a way to retain continuity and ground the audience in a sense of reality – Kuleshov disregarded continuity all together and believed that editing could be used to manipulate the audience in order to achieve the highest emotional impact. While film pioneers in the United States, such as D.W. One of these experiments, The Kuleshov Effect, which was expanded upon by Sergei Eisenstein and later Alfred Hitchcock, showed how audiences derive meaning from different shots depending on the order in which they are edited together. Since there was little to no access to film stock, Kuleshov focused on studying the psychological effects of cinema, figuring out the most effective ways to convey meaning through images. The Kuleshov Workshop, a branch of this school, was founded and run by Lev Kuleshov, one of the first film theorists. While the school was initially formed in order to bring the Russian Soviet Republic together through the use of propaganda, the Soviets were equally interested in how and why film was so effective as a medium. The Moscow Film School was founded in 1919, a year after the end of the First World War. This article was written exclusively for The Film Magazineby Margaret Roarty of the Just My Thoughts on It podcast.
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