155:, that Lev Kuleshov, pioneer of the assembly as the main pillar of a movie, began to investigate and experiment. The assembly was an unexplored field and devoted part of his career as a director to develop theoretically various articles around it. He accidentally discovered the technique that is being described: the creative geography. He lacked plans for the characters in the film watching electric poles, and to solve the problem, he decided to shoot on the one hand, the characters, looking out of the field, and on the other hand, the poles. The characters were not in the same location of the posts, in fact, they were recorded in different areas of Moscow. However, the assembly achieved the effect of creative geography, that is, it seemed that they were in the same place.
25:
274:
144:, in which multiple segments shot at various locations and/or times are edited together such that they appear to all occur in a continuous place at a continuous time. Creative geography is used constantly in film and television, for instance when a character walks through the front door of a house shown from the outside, to emerge into a
182:
in the same room at the same time. At one point, Dietrich's character gives a memento to Bowie's character: to achieve this, she handed the prop to an "extra actor", who then walked out of frame. In a separate shot, a different "extra actor" (playing the same person) walked into frame and gave the prop to Bowie.
181:
in a dialogue scene featuring the characters played by David Bowie and
Marlene Dietrich. Bowie and Dietrich actually filmed their respective parts separately, in two different rooms months apart: editing and shot-matching were employed in an attempt to convince the audience that these two people were
168:, which looks like a police call box on the outside but is much larger on the inside. The viewer knows that the actors are stepping into a prop and then filming at a sound stage that represents the interior, but, via creative geography and
251:
311:
42:
108:
89:
61:
46:
330:
304:
68:
210:
75:
35:
335:
177:
297:
57:
169:
191:
82:
281:
141:
324:
137:
129:
237:
El cine y el fin del arte : teoría y práctica cinematográfica en Lev
Kuleshov
145:
24:
273:
164:
159:
133:
252:"Bowie the film star: imaginative, daring and endlessly charismatic"
175:
An extreme example of creative geography occurred in the film
158:
A notable and innovative example of creative geography is the
18:
285:
211:"Cine soviético: de Lumiere al "cine de masas" (I)"
49:. Unsourced material may be challenged and removed.
305:
140:sometime around the 1920s. It is a subset of
8:
312:
298:
109:Learn how and when to remove this message
202:
151:It was during the filming of his film
7:
270:
268:
47:adding citations to reliable sources
250:Bradshaw, Peter (11 January 2016).
172:, the transition is made seamless.
284:. You can help Knowledge (XXG) by
14:
217:(in European Spanish). 2017-05-29
153:The Project of the Prait Engineer
272:
132:technique invented by the early
23:
34:needs additional citations for
1:
280:This filmmaking article is a
352:
267:
148:of the house's interior.
235:Mariniello, Silvestra.
170:suspension of disbelief
16:Film editing technique
126:artificial landscape,
331:Cinematic techniques
58:"Creative geography"
43:improve this article
122:Creative geography,
192:Continuity editing
293:
292:
119:
118:
111:
93:
343:
336:Filmmaking stubs
314:
307:
300:
276:
269:
260:
259:
247:
241:
240:
232:
226:
225:
223:
222:
207:
162:time machine on
114:
107:
103:
100:
94:
92:
51:
27:
19:
351:
350:
346:
345:
344:
342:
341:
340:
321:
320:
319:
318:
265:
263:
249:
248:
244:
234:
233:
229:
220:
218:
209:
208:
204:
200:
188:
115:
104:
98:
95:
52:
50:
40:
28:
17:
12:
11:
5:
349:
347:
339:
338:
333:
323:
322:
317:
316:
309:
302:
294:
291:
290:
277:
262:
261:
242:
227:
201:
199:
196:
195:
194:
187:
184:
117:
116:
31:
29:
22:
15:
13:
10:
9:
6:
4:
3:
2:
348:
337:
334:
332:
329:
328:
326:
315:
310:
308:
303:
301:
296:
295:
289:
287:
283:
278:
275:
271:
266:
257:
253:
246:
243:
238:
231:
228:
216:
212:
206:
203:
197:
193:
190:
189:
185:
183:
180:
179:
178:Just a Gigolo
173:
171:
167:
166:
161:
156:
154:
149:
147:
143:
139:
135:
131:
127:
123:
113:
110:
102:
99:December 2007
91:
88:
84:
81:
77:
74:
70:
67:
63:
60: –
59:
55:
54:Find sources:
48:
44:
38:
37:
32:This article
30:
26:
21:
20:
286:expanding it
279:
264:
256:The Guardian
255:
245:
236:
230:
219:. Retrieved
214:
205:
176:
174:
163:
157:
152:
150:
138:Lev Kuleshov
130:film editing
125:
121:
120:
105:
96:
86:
79:
72:
65:
53:
41:Please help
36:verification
33:
146:sound stage
325:Categories
221:2017-12-14
198:References
165:Doctor Who
136:filmmaker
69:newspapers
186:See also
142:montage
134:Russian
83:scholar
160:TARDIS
85:
78:
71:
64:
56:
215:Notas
128:is a
90:JSTOR
76:books
282:stub
62:news
124:or
45:by
327::
254:.
213:.
313:e
306:t
299:v
288:.
258:.
239:.
224:.
112:)
106:(
101:)
97:(
87:·
80:·
73:·
66:·
39:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
