The power of this cause and effect story-making was explored in the early twentieth century by the Soviet filmmakers Vsevolod Pudovkin and Lev Kuleshov, who juxtaposed film of a famous actor’s expressionless face with footage of a bowl of soup, a dead woman in a coffin and a girl playing with a toy bear. They then showed each juxtaposition to an audience. ‘The result was terrific,’ recalled Pudovkin. ‘The public raved about the acting of the artist. They pointed out the heavy pensiveness of his mood over the forgotten soup, were touched and moved by the deep sorrow with which he looked on the
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