Lev Kuleshov | |
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| Born | Lev Vladimirovich Kuleshov 13 January [O.S. 1 January] 1899 |
| Died | 29 March 1970(1970-03-29) (aged 71) |
| Occupation(s) | Film director,screenwriter |
| Years active | 1917–1943 |
| Spouse | Aleksandra Khokhlova (m.1923) |
Lev Vladimirovich Kuleshov (Russian:Лев Владимирович Кулешов; 13 January [O.S. 1 January] 1899 – 29 March 1970) was a Russian and Soviet filmmaker andfilm theorist, one of the founders of the world's firstfilm school, theMoscow Film School.[1] He was given the titlePeople's Artist of the RSFSR in 1969. He was intimately involved in development of the style of film making known asSoviet montage, especially its psychological underpinning, including the use of editing and thecut to influence the emotions of audience, a principle known as theKuleshov effect. He also developed the theory ofcreative geography, which is the use of the action around a cut to connect otherwise disparate settings into a cohesive narrative.
Lev Kuleshov was born in 1899 into an intellectualRussian family.[2] His father Vladimir Sergeyevich Kuleshov was ofnoble heritage; he studied art in theMoscow School of Painting, Sculpture and Architecture, despite his own father's disapproval. He then married a village schoolteacher Pelagia Aleksandrovna Shubina who was raised in an orphanage, which only led to more confrontation. They gave birth to two sons: Boris and Lev.[citation needed]
At the time Lev Kuleshov was born, the family became financially broke, lost their estate and moved toTambov, living a modest life. In 1911 Vladimir Kuleshov died; three years later Lev and his mother moved to Moscow where his elder brother was studying and working as an engineer. Lev Kuleshov decided to follow the steps of his father and entered the Moscow School of Painting, although he didn't finish it. In 1916 he applied to work at the film company led byAleksandr Khanzhonkov. He produced scenery forYevgeni Bauer's pictures, such asThe King of Paris,For Happiness and others. With time Kuleshov became more interested in film theory. He co-directed his first movieTwilight in 1917. His next film was released under the Soviet patronage.[3] Although many Russian filmmakers left the country after 1917, Kuleshov stayed, hoping to create a new Soviet cinema.[4] He worked for the state, editing pre-revolutionary "bourgeois" footage to align with Boleshevik ideology.[5]
Inspired by American films such asThe Birth of a Nation[6] and lectures byVladimir Gardin,[5] Kuleshov developed a philosophy of editing and montage, which he considered as fundamental to cinema asharmony was to music.[7] He famously demonstrated the eponymousKuleshov Effect by juxtaposing the same footage ofIvan Mozzhukhin against different images, including a meal and a corpse. Although the footage was unchanged, viewers interpreted Mozzhukhin's expression differently based on its context.[5] Kuleshov rejectedKonstantin Stanislavski's acting method, which emphasized psychology and emotions, and instead emphasized precise, legible movements which could be cleanly edited. He called his performersnaturshchik (models) instead of "actors", and had them rehearse using a "spacial metric grid" to confirm their movements followed 90- and 45-degree angles.[8]
During 1918–1920 he covered theRussian Civil War with a documentary crew. In 1919 he headed the first Soviet film courses at theNational Film School. He contributed the article "Kinematografichesky naturshchik" to the first issue ofZrelishcha in 1922. Among his other notable students wereVsevolod Pudovkin,Boris Barnet,Mikhail Romm,Sergey Komarov,Porfiri Podobed,Vladimir Fogel andAleksandra Khokhlova who became his wife. Another one of his famous inventions wascreative geography, also known as artificial landscape. Those techniques were described in his bookThe Basics of Film Direction (1941) which was later translated into many languages.
In addition to his theoretical and teaching work, Kuleshov directed a number of feature-length films. Among his most notable works are an action-comedyThe Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924), a psychological dramaBy the Law (1926) adapted from the short story byJack London and a biographical dramaThe Great Consoler (1933) based onO. Henry's life and works. In 1934 and 1935 Kuleshov went toTajikistan to direct thereDokhunda, a movie based on the novel by Tajik national poetSadriddin Ayni, but the project was regarded with suspicion by the authorities as possibly exciting Tajik nationalism, and stopped. No footage survives.[9]
After directing his last film in 1943, Kuleshov served as an artistic director and anacademic rector atVGIK where he worked for the next 25 years.[10] He was a member of the jury at the27th Venice International Film Festival, as well as a special guest during other international film festivals.
Kuleshov was awarded the Order of Lenin shortly before his death.[11] He died in Moscow in 1970. He was buried at theNovodevichy Cemetery. He was survived by his wifeAleksandra Khokhlova (1897–1985) – an actress, film director and educator, granddaughter ofPavel Tretyakov andSergey Botkin[2] – and Aleksandra's son Sergei from her first marriage.
