Mikhail Yampolsky:
Kuleshov's theoretical legacy is usually divided into two parts: one is devoted to the problems of montage and is rightly considered to be the more valuable and original, the second is concerned with the elaboration of the problem of the cinema actor and, in particular, of the theory of the naturshchik [model actor] and of rehearsal method. The books that Kuleshov wrote are organised along these lines. Both The Art of Cinema [Iskusstvo kino, 1929] and The Practice of Film Direction [Praktika kinorezhissury, 1935] begin with a statement of montage theory and then move on to an exposition of the problematic of the actor. This model has been adopted in most histories of cinema that contain an account of Kuleshov's theoretical views. Because of this, the correlation between montage theory and the anthropology of acting appears, as a rule, to be highly ephemeral. However, there is every reason to believe that the theory of montage derives genetically from the new conception of the anthropology of the actor and is based completely on it. The expositional structure adopted by Kuleshov and his popularisers masks to a considerable extent not just the profound unity of Kuleshov's film theory but also its true sense.
forums 
guests 
glossary 
hot * All scripts and texts on this site are intended for educational purposes only *
del.icio.us/anatolant/film
images : photobucket.com/cinema & photobucket.com/film [ in addition to picasa and flickr ] blogs 360.yahoo.com/anatolant + bloglines.com/blog/anatolant | www.kickapps.com/film-north
