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The first individuals to experiment with editing. David Llewelyn Wark Griffith was a premier pioneering American film director. He is best known as the director of the epic 1915 film The Birth of a Nation. Griffith used camera and narrative techniques Eisenstine was the first editor to use montage, he is famous for using it in ‘The Odessa Steps sequence’ This was a stylish way to make the audience feel like they was part of the action, this disorientates us and makes us feel confused because the cutting and editing was so fast, for example he used parallel editing and jump cutting. The Kuleshov Effect is a film editing (montage) effect demonstrated by Russian filmmaker Lev Kuleshov in the 1910s and 1920s. Kuleshov edited together a short film in which a shot of the expressionless face of Tsarist matinee idol Ivan Mosjoukine was alternated with various other shots (a plate of soup, a girl, a little girl's coffin). 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 plate of soup, the girl, or the coffin, showing an expression of hunger, desire or grief respectively.

The first individuals to experiment with editing

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The first individuals to experiment with editing.

David Llewelyn Wark Griffith was a premier pioneering American film director. He is best known as the director of the epic 1915 film The Birth of a Nation. Griffith used camera and narrative techniques Eisenstine was the first editor to use montage, he is famous for using it in ‘The Odessa Steps sequence’ This was a stylish way to make the audience feel like they was part of the action, this disorientates us and makes us feel confused because the cutting and editing was so fast, for example he used parallel editing and jump cutting.

The Kuleshov Effect is a film editing (montage) effect demonstrated by Russian filmmaker Lev Kuleshov in the 1910s and 1920s. Kuleshov edited together a short film in which a shot of the expressionless face of Tsarist matinee idol Ivan Mosjoukine was alternated with various other shots (a plate of soup, a girl, a little girl's coffin). 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 plate of soup, the girl, or the coffin, showing an expression of hunger, desire or grief respectively.