КИНОМОНТАЖ КАК СИСТЕМА: ОТ ТЕОРИИ К РЕАЛЬНОЙ ПРАКТИКЕ
FILM EDITING AS A SYSTEM: FROM THEORY TO REAL PRACTICE

Summary/Abstract: Since the 1920’s there have been two ways of considering film editing: first, as a basic set of rules of putting fragments of film together (Lev Kuleshov) and, second, film editing as means of film directing (Dziga Vertov, Vsevolod Pudovkin, Sergei Eisenstein, etc.). The absence of a systematic approach to the differentiation of editing tools, as well as the lack of any rational experience perception in the interpretation of cinema art lead to the point where, to this day, there is no clear system of teaching film editing. The article offers a way of perceiving film editing as theoretically sound, based on neurophysiological and psychological researches of the film-goers’ perception of film art, forming, as such, an ever evolving hierarchical system. The new classification creates the opportunity to set up priorities, both in the film editing teaching process as well as in the film directing practice. It also sets a strict division of the editing phenomenon and breaks it down into forms, types, laws, rules and techniques. Such way of viewing film editing laid the foundation of the study program for the discipline “Theory and Practice of Film Editing” in the Russian State Institute of Performing Arts and, in the last five years, it has been producing positive results in the students’ practical assimilation of the editing language.

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