Lev Kuleshov was a theorist in cinema during the 1920s. Kulesov argued that editing a film is like constructing a building, placing once brick after another (shot by shot) until the building (film) is complete. Lev went on to doing an experiment to back up his point. He took a film clip of head shot of an actor and inter cut the shot with different images. He placed of a bowl of soup, a child playing and a casket with a woman inside. He showed these images separately but using the same head shot of the actor. The viewer said that each image had a different emotion. The bowl of soup was hunger, the child playing was joy and the casket showed sadness. He then went on to explaining the images had nothing to do with the actors expression because he wasn't looking at them. All Lev Kuleshov experiment was juxtaposing the sequence which made the relationship.
Vertov got his ideas about a montage in the film 'Man with a Movie Camera'. This film contained no sound, no characters or story.
In the Souviet film making of the 1920s,montage was a method of juxtaposing shots to develop new meaning that did not exist in either shot alone. In the Hollywood cinema, a montage sequence is a short segment in a film in which narrative information is showed. We see an example of a montage in 'Rocky' we see Rocky Balboa training and we see the progression of the training until the end he completes it. They used a montage to show a long process being portrayed as something short. You can see the start and the end.
The Kuleshov experiment recognized that montage can lead the viewer to reach certain conclusions about the action in a film.Montage works because viewer make their own meaning by what they see.
Sergi Esienstien
Sergei Esienstien was a brief student of Kuleshov but the two parted because they had different ideas of montage. By contrasting unrelated shots Esenstein tried to provoke occasion in the viewer which were induced by shocks. An example of this is Sergi Esienstien ' Strike and Battleship Potemkin' and 'Apocalypse now' by Francis Ford Coppola.
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