Lev Kuleshov (35 results)

Condition: good. A copy that has been read, remains in good condition. All pages are intact, and the cover is intact. The spine and cover show signs of wear. Pages can include notes and highlighting and show signs of wear, and the copy can include "From the library of" labels or previous owner inscriptions. 100% GUARANTEE! Shipped with delivery confirmation, if you're not satisfied with purchase please return item! Ships via media mail.…

Hardcover. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Paperback. Condition: Very Good. Paperback. Nice shape overall.

hardcover. Condition: Good. Dust Jacket Condition: Good. Clean, unmarked pages with light foxing on the page edges. The cover has some very light wear and bumping to the corners and edges. The dust jacket has some wear, bumping, small tears, and rubbing.

Paperback. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Soft cover. Condition: Fair. No Jacket. Kuleshov on Film: Writings by Lev Kuleshov, Lev Vladimirovich Kuleshov, UC Press, 1974, 226p, trade pb, covers bumped/scuffed, minor underlining/marginalia on about 2 dozen pages in the text, binding solid---19.00.

Soft cover. Condition: Good. Paperback. Previous owner name. Good copy.

Condition: Fair. Solid copy, some page markings, covers have wear and some staining. Good solid reading copy.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. 1st. 226pp.incl.index; HB turquoise w/gilt; some rub w/some sun on edges; clean,tight pgs. DJ white&blk.; rubbed w/chips&tears. Essays on both the theoretical and practical sides of filmmaking.

Hardcover. Condition: Very Good. hardcover with dust jacket, tight, pages clear and bright, shelf and edge wear, corners bumped, a m stamp on bottom closed page edges, packaged in cardboard box for shipment, tracking on U.S. orders.

Hardcover. Condition: Fine. **WILL SHIP WITHIN 24-48 HOURS WITH TRACKING**.

Paperback. Condition: Good-. GOOD-. Off white illustrated paperback. Approx. 9.5" x 5.5". Bumps/chips to edges and corners. Rub wear, dust markings and light scratches to covers. Bottom right corner is heavily chipped. Creases to spine ends and spine edges. Tear to top right of cover. Brown/black dirt stain to top middle and top right of back cover as well as top of spine. Once Read Books, cover scan available - just ask, OnceReadBooks com Orders shipped via USPS.…

Hardcover. Condition: Near Fine. Dust Jacket Condition: Very Good. Near Fine hardcover copy in Very good dust jacket; tight binding with clean interior, light wear to page edges, jacket covers clean with some mild wear to edges, no tears. 8vo. - over 7¾ in. - 9¾ in., 286pp.

Condition: New.

Condition: As New. Unread book in perfect condition.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 5-1/4" x 8-3/8", 287pp. Sewn signatures in vinyl-covered boards. Top corners are bumped; dust jacket shows wear near top of spine, trace of old price sticker on back. Binding is square & sound, pages are clean & unmarked; appears to be an unread copy.…

Condition: New.

Condition: As New. Unread book in perfect condition.

Paperback. Condition: Brand New. reprint edition. 226 pages. 8.25x5.50x0.75 inches. In Stock.

Soft cover. Condition: Fine. 1st Edition.

Condition: New.

Condition: New.

Condition: New.

Hardcover. Condition: Brand New. 238 pages. 8.25x5.50x0.60 inches. In Stock.

Soft cover. Condition: Very Good. 4to.wrappers.very good.(HMVs2).

Buch. Condition: Neu. Neuware - Lev Kuleshov (1899-1970) was the first aesthetic theorist of the cinema. An outstanding figure in the 'montage' school, he was a key influence on Eisenstein and Pudovkin. Kuleshov was the first to see clearly that montage--the assemblage and alternation of shots--was the very essence and structure of cinematic expression, often overriding the significance of the content of the shots themselves. Deriving his insights from close study of American films (particularly D. W. Griffith's), Kuleshov used his experience in prerevolutionary Russian films and his wartime efforts in Soviet documentaries to conduct experiments in film acting and montage. He developed an editing method later referred to as the 'Kuleshov effect' that juxtaposed shots to evoke new meanings from the combinations. In one experiment, he intercut identical shots of an actor's neutral face with shots of a bowl of soup, a child in a coffin, and a sunny landscape to evoke different emotional responses from the audience. Kuleshov also 'synthesized' a nonexistent woman from close-ups of different parts of several women and created artificial landscapes by intercutting shots of locations separated by great distances.…

Hardcover. Condition: Good. In Russian. Kuleshov, Lev Vladimirovich. 50 Years in Film. Moscow: Art, 1975. All images are for identification of editions only. Several books of the same edition may be available. Please feel free to request photos of available books.SKU6992580.

Soft cover. Condition: Very Good. 1st Edition. Small octavo 14x8x11.5 cm., wrappers, 16pp. Photocollage cover designs by Petr Galadzhev . Special issue dedicated to Sergei Eisenstein and Battleship Potemkin. The first two essays by Viktor Shklovsky and Lev Kuleshov on Sergey Eisenstein; the third is on filing techniques used during the shooting of Battleship Potemkin film by his cameraman Eduard Tisse. Constructivist cover design by Petr Galadzhev with the photo of Eisenstein on front cover and montage of stills from the Battleship Potemkin on rear cover. Sergei Mikhailovich Eisenstein (1898 1948) film director and film theorist, a pioneer in the theory and practice of montage, is noted for his silent films Strike (1925), Battleship Potemkin (1925) and October (1928), as well as the historical epics Alexander Nevsky (1938) and Ivan the Terrible (1944, 1958). Battleship Potemkin presents a dramatized version of the mutiny that occurred in 1905 when the crew of the Russian battleship Potemkin rebelled against their officers. The Battleship Potemkin was named the greatest film of all time at the Brussels World's Fair in 1958. Glavlit 60656. Front cover has small corner chip; the rear cover flawless.…

Paperback. Condition: New. Lev Kuleshov (1899-1970) was the first aesthetic theorist of the cinema. An outstanding figure in the "montage" school, he was a key influence on Eisenstein and Pudovkin. Kuleshov was the first to see clearly that montage-the assemblage and alternation of shots-was the very essence and structure of cinematic expression, often overriding the significance of the content of the shots themselves. Deriving his insights from close study of American films (particularly D. W. Griffith's), Kuleshov used his experience in prerevolutionary Russian films and his wartime efforts in Soviet documentaries to conduct experiments in film acting and montage. He developed an editing method later referred to as the "Kuleshov effect" that juxtaposed shots to evoke new meanings from the combinations. In one experiment, he intercut identical shots of an actor's neutral face with shots of a bowl of soup, a child in a coffin, and a sunny landscape to evoke different emotional responses from the audience. Kuleshov also "synthesized" a nonexistent woman from close-ups of different parts of several women and created artificial landscapes by intercutting shots of locations separated by great distances.   Kuleshov taught at the Soviet film school and was a well-known director of features, and Kuleshov on Film contains essays on both the theoretical and practical sides of filmmaking. Influenced by Futurism, Russian Formalism, and structural linguistics, Kuleshov's analysis can now be seen as semiotic, presaging studies of film as a system of signs. As a Marxist and structuralist, Kuleshov examined form and content with a materialist approach. The translator's extensive introduction discusses Kuleshov's use of signs, typage, and other structuralist concepts and places him in the development of semiotic thought. It also provides intriguing biographical detail on Kuleshov's conflicts with advocates of "socialist realism," who attempted to stamp out the artistic and theoretical innovations of the early revolutionary years, and establishes Kuleshov's position as one of the great figures in the evolution of film.  Kuleshov on Film is essential reading for everyone seriously concerned with the cinema. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1974.…

Paperback. Condition: New. Lev Kuleshov (1899-1970) was the first aesthetic theorist of the cinema. An outstanding figure in the "montage" school, he was a key influence on Eisenstein and Pudovkin. Kuleshov was the first to see clearly that montage-the assemblage and alternation of shots-was the very essence and structure of cinematic expression, often overriding the significance of the content of the shots themselves. Deriving his insights from close study of American films (particularly D. W. Griffith's), Kuleshov used his experience in prerevolutionary Russian films and his wartime efforts in Soviet documentaries to conduct experiments in film acting and montage. He developed an editing method later referred to as the "Kuleshov effect" that juxtaposed shots to evoke new meanings from the combinations. In one experiment, he intercut identical shots of an actor's neutral face with shots of a bowl of soup, a child in a coffin, and a sunny landscape to evoke different emotional responses from the audience. Kuleshov also "synthesized" a nonexistent woman from close-ups of different parts of several women and created artificial landscapes by intercutting shots of locations separated by great distances.   Kuleshov taught at the Soviet film school and was a well-known director of features, and Kuleshov on Film contains essays on both the theoretical and practical sides of filmmaking. Influenced by Futurism, Russian Formalism, and structural linguistics, Kuleshov's analysis can now be seen as semiotic, presaging studies of film as a system of signs. As a Marxist and structuralist, Kuleshov examined form and content with a materialist approach. The translator's extensive introduction discusses Kuleshov's use of signs, typage, and other structuralist concepts and places him in the development of semiotic thought. It also provides intriguing biographical detail on Kuleshov's conflicts with advocates of "socialist realism," who attempted to stamp out the artistic and theoretical innovations of the early revolutionary years, and establishes Kuleshov's position as one of the great figures in the evolution of film.  Kuleshov on Film is essential reading for everyone seriously concerned with the cinema. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1974.…