![]() ![]() The study had 137 participants but was a single-trial between-subject experiment, which is prone to noise in the data. Prince and Hensley (1992) recreated the original study design but did not find the alleged effect. The Kuleshov effect has been studied by psychologists only in recent years. In the second example, the woman and baby are replaced with a woman in a bikini, Hitchcock explains: "What is he now? He's a dirty old man." The screen then returns to Hitchcock's face, now smiling. In the first version of the example, Hitchcock is squinting, and the audience sees footage of a woman with a baby. The final form, which he calls "pure editing", is explained visually using the Kuleshov effect. In the famous "Definition of Happiness" interview which was part of the CBC Telescope program, Hitchcock also explained in detail many types of editing to Fletcher Markle. Alfred Hitchcock refers to the effect in his conversations with François Truffaut, using actor James Stewart as the example. The effect has also been studied by psychologists and is well-known among modern film-makers. Petersburg, and The Man with a Movie Camera. These films included The Battleship Potemkin, October, Mother, The End of St. 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. The raw materials of such an art work need not be original, but are prefabricated elements which can be disassembled and reassembled by the artist into new juxtapositions. It is therefore not the content of the images in a film which is important, but their combination. In Kuleshov's view, the cinema consists of fragments and the assembly of those fragments, the assembly of elements which in reality are distinct. Kuleshov demonstrated the necessity of considering montage as the basic tool of cinema. Mosjoukine had been the leading romantic "star" of Tsarist cinema, and familiar to the audience. The experiment itself was created by assembling fragments of pre-existing film from the Tsarist film industry, with no new material. Kuleshov believed this, along with montage, had to be the basis of cinema as an independent art form. The implication is that viewers brought their own emotional reactions to this sequence of images, and then moreover attributed those reactions to the actor, investing his impassive face with their own feelings. Kuleshov used the experiment to indicate the usefulness and effectiveness of film editing. But we knew that in all three cases the face was exactly the same." the heavy pensiveness of his mood over the forgotten soup, were touched and moved by the deep sorrow with which he looked on the dead child, and noted the lust with which he observed the woman. Vsevolod Pudovkin (who later claimed to have been the co-creator of the experiment) described in 1929 how the audience "raved about the acting. The footage of Mosjoukine was actually the same shot each time. The film was shown to an audience who believed that the expression on Mosjoukine's face was different each time he appeared, depending on whether he was "looking at" the bowl of soup, the girl in the coffin, or the woman on the divan, showing an expression of hunger, grief, or desire, respectively. ![]() Kuleshov edited a short film in which a shot of the expressionless face of Tsarist matinee idol Ivan Mosjoukine was alternated with various other shots (a bowl of soup, a girl in a coffin, a woman on a divan). Specifics Example clip of a modern Kuleshov sequence, with a man reacting to three different shots It is a mental phenomenon by which viewers derive more meaning from the interaction of two sequential shots than from a single shot in isolation. The Kuleshov effect is a film editing ( montage) effect demonstrated by Russian film-maker Lev Kuleshov in the 1910s and 1920s.
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