Soviet Montage
Unique Characteristics of Soviet Montage

Unlike Montage where by a combination series of short shots are edited into a sequence to condense space, time, and information, Soviet Montage on the other hand is a style of filmmaking that is evolved to immerse the audience in a story and disguise technique was turned upside down in order to create the opposite emotional effect to bring the audience to the edge of their seat, and in the case of the Odessa Steps sequence, to push the viewer towards a feeling of vertigo. In a simpler form, Soviet Montage combination series of short shots are edited into a sequence to create symbolic meaning. One main characteristic of Soviet Montage films is the downplaying of individual
Putting shots A and B together does not result in AB but in the emergence of X or Y – something new and larger than AB. This moved the theory of montage on from Kuleshov and Pudovkin who believed shots are like bricks in the way they construct a scene. Kuleshov and Pudovkin aimed at linkage rather than conflict

Soviet montage

"Following the Russian Revolution in October 1917, the new Soviet government faced the difficult task of controlling all sectors of life. Like other industries, the film production and distribution systems took years to build up a substantial output that could serve the aims of the new government. During World War I, there were a number of private production companies operating in Moscow and Petersburg. With most imports cut off, these companies did quite well making films for the domestic market. The most distinctive Russian films made during the mid-1910s were slow-paced melodramas that concentrated on bravura performances by actors playing characters caught in extremely emotional situations. Such films showcased the talents of Ivan Mozhukin and other popular stars and were aimed mainly at the large Russian audience, seldom being seen abroad. These film companies resisted the move made directly after the Revolution to nationalize all private property. They simply refused to supply films to theaters operating under the control of the government. In July 1918, the government's film subsection of the State Commission of