After the Bolshevik Revolution in 1917, the new government of Soviet wasn't able to finance the film industry, but they believedfilm had a strong use for propagandistic and educational purposes. Thus,Narkompros was established and assigned to oversee the cinema. The head ofNarkompros, Lunacharsky, was sympathetic towards Montage movement, whichcreated favorable environment for the Montage directors later.
Duringthe civil war from 1918 to 1920, the state-owned Soviet PDE were disorganized. Amajor concern of getting films out to troops and villagers led to the inventionof agit-vehicles. In 1919, Narkompros established the State Film School. In 1920,Kuleshov joined the faculty and formed a workshop that was to train some of themost important directors and actors of the era. The Kuleshov Effectexperimented in 1921 established that editing had more effect to the viewer’s responsethan the individual shot. This idea was the center of Montage filmmakers’theory and style later.
AfterLenin formulated the New Economic Policy in 1921, he issued Lenin proportion,stating that film programs should balance entertainment and education. The governmentalso attempted to control the feeble film industry by creating a centraldistribution monopoly called Goskino. Althought it failed. During the NEPperiod, Soviet film industry had a slow growth. In 1924, there was a furtherincrease in production.
In1925, the gov created a new company, Sovkino, which was responsible for openingurban theaters and sending portable projection outfits to the countryside whenit made no profit at all from those above. Sovkino managed to make profit fromdistributing imported films, but the more desirable source of income wasdomestic production. Thus, it had a strong incentive to export films, which iswhy it supported the young Montage directors. Eisenstein’s Potemkin was the first triumph abroad. His earlier film, Strike (1925), was the first major filmof Montage movement.
Kuleshov’sworkshop trained two important Montage directors: Pudovkin and Vertov. Togetherwith FEKS they were the principal early exponents of SM.
In 1927, the industry wasfinally making money for the first time, but Sovkino and Lunacharsky were undercriticism of formalism. In 1928, FilmQuestion was held, and in 1930, Soyuzkino was formed to supervise PDE of all films.The head, Boris Shunmyatsky, had no sympathy for the Montage filmmakers. As theMontage activities intensified, the accusation intensified. Montage filmmakers,one by one, quelled making more films in Soviet. Finally, Pudovkin’s Deserter in 1933 brought the movement aclose
Duringthe civil war from 1918 to 1920, the state-owned Soviet PDE were disorganized. Amajor concern of getting films out to troops and villagers led to the inventionof agit-vehicles. In 1919, Narkompros established the State Film School. In 1920,Kuleshov joined the faculty and formed a workshop that was to train some of themost important directors and actors of the era. The Kuleshov Effectexperimented in 1921 established that editing had more effect to the viewer’s responsethan the individual shot. This idea was the center of Montage filmmakers’theory and style later.
AfterLenin formulated the New Economic Policy in 1921, he issued Lenin proportion,stating that film programs should balance entertainment and education. The governmentalso attempted to control the feeble film industry by creating a centraldistribution monopoly called Goskino. Althought it failed. During the NEPperiod, Soviet film industry had a slow growth. In 1924, there was a furtherincrease in production.
In1925, the gov created a new company, Sovkino, which was responsible for openingurban theaters and sending portable projection outfits to the countryside whenit made no profit at all from those above. Sovkino managed to make profit fromdistributing imported films, but the more desirable source of income wasdomestic production. Thus, it had a strong incentive to export films, which iswhy it supported the young Montage directors. Eisenstein’s Potemkin was the first triumph abroad. His earlier film, Strike (1925), was the first major filmof Montage movement.
Kuleshov’sworkshop trained two important Montage directors: Pudovkin and Vertov. Togetherwith FEKS they were the principal early exponents of SM.
In 1927, the industry wasfinally making money for the first time, but Sovkino and Lunacharsky were undercriticism of formalism. In 1928, FilmQuestion was held, and in 1930, Soyuzkino was formed to supervise PDE of all films.The head, Boris Shunmyatsky, had no sympathy for the Montage filmmakers. As theMontage activities intensified, the accusation intensified. Montage filmmakers,one by one, quelled making more films in Soviet. Finally, Pudovkin’s Deserter in 1933 brought the movement aclose
