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Hypertext syntagmas: cinematic narration with links
mitry.a

His [Kuleshov's] first experiment is famous in the annals of the cinema. From an old piece of film shot by Bauer he took a closeup of the actor Ivan Mozhukhin, deliberately showing his face at its most inexpressive and vague, and had three prints made of it. He then joined the first print to a shot of a plate of soup standing on a tabletop. The second he joined to a shot of a man's corpse lying face down on the ground and the third to one of a half-naked woman, stretched out luxuriously and invitingly on a couch. the, joining all the "object-subject" pieces end to end, he projected the whole thing to an unprepared audience. Every one of them declared his admiration for Mozhukhin's talent for "expessing so marvelously, one after another, the feelings of hunger, pain, and desire." Since Mozhukhin had in fact expressed nothing of the kind, Kuleshov had proved that the audience was seeing things which did not actually exist. In other words, by linking their successive perceptions and relating each detail to an organic whole, the audience was constructing logically the necessary relationships and crediting Mozhukhin with the expression which, in the normal course of events, he might have expressed. (Mitry, p. 100.)

Adrian Miles: Hypertext syntagmas: cinematic narration with links
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