Sans Soleil, 1983

Chris Marker's San Soleil, 1983, is a contemporary example of the Kuleshov effect with narration that deepens the connection of observer to juxtaposed imagery.

Man with a Movie Camera

Dziga Vertov is a Russian filmmaker that viewed the everydayness of life as a vital source of cinematic truth. His process of merging daily occurrences with the idea of newsreels propelled montage to include unscripted imagery.  Man with a Movie Camera, 1929.

Tonal Montage

Battleship Potemkin Part III

In part III of Battleship Potemkin, Eisenstein uses the method tonal montage to visualize the emotional sound of the piece; in this method he utilizes haze, fog, light and luminosity.

Intellectual Montage

In this example of Eisenstein's theory of montage we see the collision of imagery known as Intellectual Montage, an ideological method inciting the observer to reconsider their way of thinking.  This is an excerpt from his film October, 1928.

Battleship Potemkin, 1925, Rhythmic Montage

Now we move to Sergei Eisenstein, a filmmaker that experimented with the Kuleshov effect and continued the construction of montage to include rhythmic pacing with multiple cuts of perspective.

Alfred Hitchcock Explains Montage

At 00:00:42 seconds Hitchcock explains the Kuleshov Effect, demonstrating how the slightest change of a character's face alters the effect of juxtaposition.

The Kuleshov Effect

A look at the Kuleshov Effect an experiment done by Lev Kuleshov, a Russian Psychologist interested in the meaning that emerges when disparate imagery is juxtaposed in the format of film. 1919