Filmmaking advanced by lev kuleshov and dziga vertov
How did the theories on filmmaking advanced by Lev Kuleshov, Dziga Vertov, and Sergei Eisenstein differ with regard to editing? In your answer, cite evidence from their films as well as their theoretical writings.
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What events or conditions motivated the calls for the moral reform of the American film industry in the early 1920s? How did the industry respond to these calls?
Identify the major technological and aesthetic factors that influenced Hollywood film form during the 1920s. How did the resulting changes enhance or complement the classical narrative style, which was by then the industry norm?
How did the major Hollywood firms respond to the challenge posed by First National Exhibitors’ Circuit in 1917? What kinds of benefits resulted from the industry’s adoption of vertical integration?
How was mise-en-scene used as an element of montage in the films of Soviet directors? Give examples of how mise-en-scene was typically employed in Montage films.
How do postmodern and magic realist representations engage with the city, and for what purpose? Include your answer some comparison with modernist representations of the city.
Situate the Constructivist movement within the broader trend of Modernism in the arts of the early twentieth century. What were the objectives of Constructivism, and which of those aims were especially important to the development of the Montage m
Compare the activities of the Soviet film industry during the War Communism period (1918-1920) and during the years of the New Economic Policy (1921-1924).
Identify the primary formal concerns of the “New Objectivity” trend, and explain how the films of G.W. Pabst demonstrate those concerns.
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