Before the First World War, cinema played a very minor role in the lives of most Russians. The situation changed dramatically after the 1917 revolution, when the new government headed by Lenin, who declared that "of all the arts is an important film, and sent out a movie-making groups across the country on trains and river boats. These groups are removed, mounted and showed awareness ribbons, designed to shape public opinion. Such agitpropovskie movies should have been campaigning, millions of illiterate workers and peasants of the advantages and prospects of the new communist regime. The most famous was agitpropovskim director Dziga Vertov, who founded the documentary newsreel entitled "Film-". In films like "Man with a Movie Camera", he made dozens of personnel storm the screen, that was supposed to symbolize the revolutionary energy and enthusiasm. In addition, Vertov inevitably had to resort to such a dynamic style for lack of film. A similar problem was before, and Lev Kuleshov, a teacher has just opened in Moscow, State Committee noshkoly. In the Soviet Union said more than 100 languages, so the new communist regime preferred to use for propaganda purposes silent film. In the early 1920's dozens agitpropovskih trains dispatched around the country to bring the ideas of communism to 160 million people. He taught his students the art of installation, forcing them to re-install the existing feature films like "Intolerance" D.U. Griffith. According to Kuleshov, the value of a particular episode of the film depends entirely on the interpretation of the audience the sequence in which interconnected individual frames. He proved it during the experiment, . when one and the same frame a person the actor expressed his hunger, . when he appeared on the screen behind the scenes with a plate of soup, . Mount for parallel installation with the image of the body in a coffin and touched, . being mounted with the frame, . where a child plays with teddy bear,
. This relationship is called "Kuleshov effect". She has had a significant impact on the further development of the theory and practice of editing. Other directors have adapted the same technique to mount their own creative aspirations. For example, Vsevolod Pudovkin widely used method combines images in the highly publicized film "Mother" (1926). In turn, Alexander Dovzhenko developed an original style based on a poetic contrast of beautiful Ukrainian landscapes harsh realities of that time, as, for example, in the film "Earth" (1930). However, not all filmmakers shared the view that such a method of mounting is the best. Another Soviet film director - Sergei Eisenstein argued that the emotional impact the film will be much stronger if you mount the frames in such a rapid pace, that visual images are almost bumping into each other. His views he embodied in his paintings "Strike" (1924) and "Battleship Potemkin" (1925). In these tapes the director refused, not only from the traditional plot, but also from the binding before the main characters.