201:. When a neutral face was shown behind a sad scene, it seemed sad; when it was shown behind a happy scene, it seemed happy. In 2016, Daniel Barratt et al. tested 36 participants using 24 film sequences across five emotional conditions (happiness, sadness, hunger, fear, and desire) and a neutral control condition. Again, they showed that neutral faces were rated in accordance with the stimuli material, confirming the 2006 findings of Mobbs et al.
180:. The final form, which he calls "pure editing", is explained visually using the Kuleshov effect. In the first version of the example, Hitchcock is squinting, and the audience sees footage of a woman with a baby. The screen then returns to Hitchcock's face, now smiling. In effect, he is a kind old man. In the second example, the woman and baby are replaced with a woman in a
75:). The film was shown to an audience who believed that the expression on Mosjoukine's face was different each time he appeared, depending on whether he was "looking at" the bowl of soup, the girl in the coffin, or the woman on the divan, showing an expression of hunger, grief, or desire, respectively. The footage of Mosjoukine was actually the same shot each time.
86:
Kuleshov used the experiment to indicate the usefulness and effectiveness of film editing. The implication is that viewers brought their own emotional reactions to this sequence of images, and then moreover attributed those reactions to the actor, investing his impassive face with their own feelings.
101:
as the basic tool of cinema. In
Kuleshov's view, the cinema consists of fragments and the assembly of those fragments, the assembly of elements which in reality are distinct. It is therefore not the content of the images in a film which is important, but their combination. The raw materials of such
192:
The
Kuleshov effect has been studied by psychologists only in recent years. Prince and Hensley (1992) recreated the original study design but did not find the alleged effect. The study had 137 participants but was a single-trial between-subject experiment, which is prone to noise in the data. Dean
207:
To find out whether the
Kuleshov effect can also be induced auditorily, Andreas M. Baranowski and Heiko Hecht intercut different clips of faces with neutral scenes, featuring happy music, sad music, or no music at all. They found that the music significantly influenced participants’ emotional
79:(who later claimed to have been the co-creator of the experiment) described in 1929 how the audience "raved about the acting ... the heavy pensiveness of his mood over the forgotten soup, were touched and moved by the deep sorrow with which he looked on the dead child, and noted the
55:
105:
The montage experiments carried out by
Kuleshov in the late 1910s and early 1920s formed the theoretical basis of Soviet montage cinema, culminating in the famous films of the late 1920s by directors such as
457:
Daniel
Barratt; Anna Cabak RĂ©dei; Ă…se Innes-Ker; Joost van de Weijer (2016-04-06). "Does the Kuleshov effect really exist? Revisiting a classic film experiment on facial expressions and emotional contexts".
204:
Thus, despite the initial problems in testing the
Kuleshov effect experimentally, researchers now agree that the context in which a face is shown has a significant effect on how the face is perceived.
56:
58:
59:
46:
in the 1910s and 1920s. It is a mental phenomenon by which viewers derive more meaning from the interaction of two sequential shots than from a single shot in isolation.
410:
57:
102:
an art work need not be original, but are prefabricated elements which can be disassembled and reassembled by the artist into new juxtapositions.
615:
126:
194:
554:
1065:
369:
94:
film industry, with no new material. Mosjoukine had been the leading romantic "star" of
Tsarist cinema, and familiar to the audience.
329:
298:
1080:
552:
H.G. Wallbott (1988). "In and out of context: Influences of facial expression and context information on emotion attributions".
704:
1085:
1075:
144:
503:
Andreas M Baranowski; Heiko Hecht (2017). "The auditory
Kuleshov effect: Multisensory integration in movie editing".
608:
587:
138:
1037:
404:
Dean Mobbs; Nikolaus
Weiskopf; Hakwan C. Lau; Eric Featherstone; Ray J. Dolan; Chris D. Frith (2006-08-14).
120:
1022:
996:
1070:
991:
854:
778:
601:
172:
39:
87:
Kuleshov believed this, along with montage, had to be the basis of cinema as an independent art form.
83:
with which he observed the woman. But we knew that in all three cases the face was exactly the same."
1011:
814:
679:
505:
460:
282:
198:
160:
98:
740:
725:
648:
367:
Stephen Prince; Wayne E. Hensley (1992). "The
Kuleshov effect: Recreating the classic experiment".
1016:
986:
689:
530:
485:
386:
353:
321:
316:
217:
132:
63:
Example clip of a modern Kuleshov sequence, with a man's face intercut with three different shots
67:
Kuleshov edited a short film in which a shot of the expressionless face of Tsarist matinee idol
1001:
938:
849:
839:
773:
694:
522:
477:
439:
325:
294:
111:
107:
76:
72:
756:
699:
563:
514:
469:
429:
419:
378:
286:
156:
1027:
953:
948:
905:
844:
809:
709:
658:
643:
177:
71:
was alternated with various other shots (a bowl of soup, a girl in a coffin, a woman on a
68:
167:
as the example. In the famous "Definition of Happiness" interview which was part of the
90:
The experiment itself was created by assembling fragments of pre-existing film from the
1032:
910:
567:
434:
405:
223:
168:
91:
1059:
1006:
968:
926:
889:
879:
684:
489:
164:
534:
406:"The Kuleshov Effect: The influence of contextual framing on emotional attributions"
1042:
884:
858:
804:
638:
624:
152:
115:
43:
35:
783:
653:
17:
581:
345:
518:
473:
943:
874:
766:
735:
730:
277:
Thomas Leitch, Leland Poague (2011). Leitch, Thomas; Poague, Leland (eds.).
526:
481:
443:
424:
290:
819:
761:
220:
was another Kuleshov experiment demonstrating the usefulness of montage.
958:
390:
963:
788:
197:
study in 2006 and found an effect for negative, positive, or neutral
181:
176:
program, Hitchcock also explained in detail many types of editing to
674:
382:
53:
346:"Hitchcock Explains the Kuleshov Effect to Fletcher Markle. 1964"
262:
M Russel. "The Kuleshov Effect and the Death of the Auteurism".
80:
597:
593:
184:, Hitchcock explains: "What is he now? He's a dirty old man."
583:
Efecto Kuleshov. La importancia del montaje cinematográfico
243:
Vsevolod Pudovkin (1974). "Naturshchik vmesto aktera".
979:
919:
898:
867:
832:
797:
749:
718:
667:
631:
590:("Kuleshov effect. The importance of film editing")
97:Kuleshov demonstrated the necessity of considering
159:refers to the effect in his conversations with
609:
8:
155:and is well-known among modern film-makers.
42:) effect demonstrated by Russian film-maker
411:Social Cognitive and Affective Neuroscience
715:
616:
602:
594:
433:
423:
235:
118:, among others. These films included
7:
555:British Journal of Social Psychology
151:The effect has also been studied by
568:10.1111/j.2044-8309.1988.tb00837.x
193:Mobbs et al. did a within-subject
25:
314:Truffaut, Francois (1983). "11".
356:from the original on 2021-12-21.
208:judgments of facial expression.
279:A Companion to Alfred Hitchcock
1:
145:The Man with a Movie Camera
1102:
1066:Cinema of the Soviet Union
139:The End of St. Petersburg
519:10.1177/0301006616682754
474:10.1177/0301006616638595
1081:Concepts in film theory
121:The Battleship Potemkin
27:Concept in film editing
1023:Video editing software
997:Post-classical editing
64:
992:Soviet montage theory
291:10.1002/9781444397321
283:John Wiley & Sons
62:
1086:Cognitive psychology
1076:Cinematic techniques
1012:Linear video editing
649:Attentional control
425:10.1093/scan/nsl014
245:Sobranie Sochinenii
1017:Non-linear editing
987:Continuity editing
322:Simon and Schuster
317:Hitchcock/Truffaut
218:Creative geography
65:
1053:
1052:
1038:Real-time editing
1002:In-camera editing
939:Establishing shot
850:Shot/reverse shot
828:
827:
695:Multiple exposure
513:(10): 1061–1070.
161:François Truffaut
112:Vsevolod Pudovkin
108:Sergei Eisenstein
77:Vsevolod Pudovkin
60:
16:(Redirected from
1093:
716:
700:Optical illusion
618:
611:
604:
595:
584:
571:
539:
538:
500:
494:
493:
454:
448:
447:
437:
427:
401:
395:
394:
364:
358:
357:
342:
336:
335:
311:
305:
304:
274:
268:
267:
259:
253:
252:
240:
157:Alfred Hitchcock
61:
21:
1101:
1100:
1096:
1095:
1094:
1092:
1091:
1090:
1056:
1055:
1054:
1049:
1028:Offline editing
975:
954:External rhythm
949:Internal rhythm
932:Kuleshov effect
915:
906:180-degree rule
894:
863:
824:
793:
745:
714:
663:
644:Synchronization
627:
622:
582:
578:
551:
548:
546:Further reading
543:
542:
502:
501:
497:
456:
455:
451:
403:
402:
398:
383:10.2307/1225144
366:
365:
361:
344:
343:
339:
332:
324:. p. 216.
313:
312:
308:
301:
276:
275:
271:
261:
260:
256:
242:
241:
237:
232:
214:
190:
178:Fletcher Markle
69:Ivan Mosjoukine
54:
52:
32:Kuleshov effect
28:
23:
22:
18:Kuleshov Effect
15:
12:
11:
5:
1099:
1097:
1089:
1088:
1083:
1078:
1073:
1068:
1058:
1057:
1051:
1050:
1048:
1047:
1046:
1045:
1040:
1035:
1033:Online editing
1030:
1025:
1020:
1014:
1004:
999:
994:
989:
983:
981:
977:
976:
974:
973:
972:
971:
966:
956:
951:
946:
941:
936:
935:
934:
923:
921:
917:
916:
914:
913:
911:30-degree rule
908:
902:
900:
896:
895:
893:
892:
887:
882:
877:
871:
869:
865:
864:
862:
861:
852:
847:
842:
836:
834:
830:
829:
826:
825:
823:
822:
817:
812:
807:
801:
799:
795:
794:
792:
791:
786:
781:
776:
771:
770:
769:
759:
753:
751:
747:
746:
744:
743:
738:
733:
728:
722:
720:
713:
712:
707:
702:
697:
692:
690:Points of view
687:
682:
677:
671:
669:
665:
664:
662:
661:
656:
651:
646:
641:
635:
633:
629:
628:
623:
621:
620:
613:
606:
598:
592:
591:
577:
576:External links
574:
573:
572:
562:(4): 357–369.
547:
544:
541:
540:
495:
468:(8): 847–874.
449:
396:
370:Cinema Journal
359:
337:
330:
306:
299:
285:. p. 60.
269:
254:
251:. Moscow: 184.
234:
233:
231:
228:
227:
226:
224:Uncanny valley
221:
213:
210:
189:
186:
163:, using actor
51:
48:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1098:
1087:
1084:
1082:
1079:
1077:
1074:
1072:
1069:
1067:
1064:
1063:
1061:
1044:
1043:Vision mixing
1041:
1039:
1036:
1034:
1031:
1029:
1026:
1024:
1021:
1018:
1015:
1013:
1010:
1009:
1008:
1007:Video editing
1005:
1003:
1000:
998:
995:
993:
990:
988:
985:
984:
982:
978:
970:
969:Stock footage
967:
965:
962:
961:
960:
957:
955:
952:
950:
947:
945:
942:
940:
937:
933:
930:
929:
928:
927:Reaction shot
925:
924:
922:
918:
912:
909:
907:
904:
903:
901:
897:
891:
890:Walk and talk
888:
886:
883:
881:
878:
876:
873:
872:
870:
866:
860:
856:
853:
851:
848:
846:
843:
841:
840:Cut on action
838:
837:
835:
831:
821:
818:
816:
813:
811:
810:Invisible cut
808:
806:
803:
802:
800:
796:
790:
787:
785:
782:
780:
777:
775:
772:
768:
765:
764:
763:
760:
758:
755:
754:
752:
748:
742:
739:
737:
734:
732:
729:
727:
724:
723:
721:
717:
711:
708:
706:
703:
701:
698:
696:
693:
691:
688:
686:
685:Eyeline match
683:
681:
678:
676:
673:
672:
670:
666:
660:
657:
655:
652:
650:
647:
645:
642:
640:
637:
636:
634:
630:
626:
619:
614:
612:
607:
605:
600:
599:
596:
589:
585:
580:
579:
575:
569:
565:
561:
557:
556:
550:
549:
545:
536:
532:
528:
524:
520:
516:
512:
508:
507:
499:
496:
491:
487:
483:
479:
475:
471:
467:
463:
462:
453:
450:
445:
441:
436:
431:
426:
421:
418:(2): 95–106.
417:
413:
412:
407:
400:
397:
392:
388:
384:
380:
376:
372:
371:
363:
360:
355:
351:
347:
341:
338:
333:
331:9780671604295
327:
323:
319:
318:
310:
307:
302:
300:9781444397321
296:
292:
288:
284:
280:
273:
270:
265:
258:
255:
250:
246:
239:
236:
229:
225:
222:
219:
216:
215:
211:
209:
205:
202:
200:
196:
187:
185:
183:
179:
175:
174:
170:
166:
165:James Stewart
162:
158:
154:
153:psychologists
149:
147:
146:
141:
140:
135:
134:
129:
128:
123:
122:
117:
113:
109:
103:
100:
95:
93:
88:
84:
82:
78:
74:
70:
49:
47:
45:
41:
37:
33:
19:
1071:Film editing
931:
885:Slow cutting
859:Flashforward
845:Contrast cut
833:Storytelling
805:Fast cutting
705:Split screen
659:Parallel cut
639:Choreography
625:Film editing
559:
553:
510:
504:
498:
465:
459:
452:
415:
409:
399:
377:(2): 59–75.
374:
368:
362:
349:
340:
315:
309:
278:
272:
263:
257:
248:
244:
238:
206:
203:
191:
171:
150:
143:
137:
131:
125:
119:
116:Dziga Vertov
104:
96:
89:
85:
66:
44:Lev Kuleshov
36:film editing
31:
29:
784:Slow motion
750:Timelapsing
654:Master shot
1060:Categories
710:Transition
506:Perception
461:Perception
230:References
944:Long take
880:Cross cut
875:Smash cut
855:Flashback
767:Axial cut
736:Long shot
731:Match cut
719:Insertion
668:Technique
490:206513110
173:Telescope
50:Specifics
820:Supercut
779:Dissolve
762:Jump cut
726:Dialogue
535:36187687
527:27923940
482:27056181
444:17339967
354:Archived
212:See also
188:Research
980:Editing
959:Footage
815:Montage
680:Cutaway
632:Concept
588:YouTube
435:1810228
391:1225144
350:YouTube
199:valence
127:October
99:montage
92:Tsarist
40:montage
964:B-roll
868:Action
789:Prelap
741:Insert
533:
525:
488:
480:
442:
432:
389:
328:
297:
182:bikini
142:, and
133:Mother
1019:(NLE)
798:Other
675:Clues
531:S2CID
486:S2CID
387:JSTOR
264:Forum
73:divan
34:is a
920:Term
899:Rule
774:Wipe
523:PMID
478:PMID
440:PMID
326:ISBN
295:ISBN
195:fMRI
114:and
81:lust
30:The
757:Cut
586:on
564:doi
515:doi
470:doi
430:PMC
420:doi
379:doi
287:doi
169:CBC
1062::
857:/
560:27
558:.
529:.
521:.
511:43
509:.
484:.
476:.
466:45
464:.
438:.
428:.
414:.
408:.
385:.
375:31
373:.
352:.
348:.
320:.
293:.
281:.
247:.
148:.
136:,
130:,
124:,
110:,
617:e
610:t
603:v
570:.
566::
537:.
517::
492:.
472::
446:.
422::
416:1
393:.
381::
334:.
303:.
289::
266:.
249:1
38:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.