![]() ![]() Stalin also later adapted this same mentality, further valuing advancement in Soviet cinema. Everyone was able to watch a film and interpret the messages behind it and Lenin was very aware of this, therefore making it the number one source of propaganda for the USSR, stating that ‘the cinema is for us the most important of the arts’ (quoted, Taylor, 445). ![]() Vladimir Lenin supported this movement as the first political leader to understand the importance of cinema and its ability to convey ideas and messages to audiences regardless of their level of intelligence. ![]() They did not waste any time when it came to discovering that cinema was a key propaganda tool due to its popularity amongst the Russian public. The Russian Soviet Federative Socialist Republic was replaced by the Union of Soviet Socialist Republics (USSR) on the 30th of December 1922. Throughout this blog, we will reference the works of Hitchcock and Godard, reframing the canon through the lens of Soviet Theory, and will subsequently examine the recent Rocky franchise as an example of a recent, mainstream instance of this montage technique. Considering the pioneering works of Eisenstein and Kuleshov, we will trace the rich lineage of Soviet Montage, investigating its impact on popular film throughout recent history. Now over a century old, the cinematic theories of the Moscow film school have proven themselves a foundation for modern cinema. ![]()
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