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Leo Kuleshoff. — The conditions above indicated and the fusion of American film realism with Russian aesthetic tendencies gave birth to the school of Leo Kuleshoff, the pioneer of the revolution in Soviet cinematography. Quite apart from the aesthetic importance of his individual style, it should be remembered that he is the founder of the School for Artistic Directors, inspired by his knowledge of cinematographic technique, staging and filming, and all other film factors, especially an understanding of the actor himself. L. Kuleshoff trained a number of new stage directors, such as V. Pudovkin, L. Obolenski, S. P. Comaroff, B. Barbett ; and such actors as A. Chochlov, F. Fogel, S. Comaroff, G. Galadgev, and others.
Although he introduced adventure films — a quite new type of film in Russia — Leo Kuleshoff did not succeed in creating any complete examples of this kind. The problem was in due course solved satisfactorily by I. N. Perestiani, with his film « Little Red Devils » based on the scenario of P. A. Bliachin. « Little Red Devils » wTas the first film in which the questions of the day were studied and presented in a quite new form.
Dsiga Vertoff. — The same social sources, that is to say, the ideas originated by the October revolution and the great significance which the opening years of the new regime had for us, and the defects and numerous artistic failure of the first Soviet films — hardly to be avoided in a period of adventure into new paths and new ideas — were responsible for the fierce criticism of the artistic films of Dsiga Vertoff, founder of the Kinokov Group. This group had for its slogum : « Down with the theatrical film ; the cinematograph must reflect our political realities ».
Dsiga Vertoff worked strenuously in the field of the topical film, and did not limit himself merely to composing the films, but aimed at imparting to them a typical and perfect form. He had recourse in his creations to a very lively mise en scene, and did not seek his material in the usual events of the day, but in special incidents, on the principle of « seizing life on the wing ». By a clever scenic fusion of typical features, events of the day, and scenes from nature, Dsiga Vertoff endeavoured in his films « Kino-Pravda » (cinematographic truths) and « Kino-Glas » (the eyes of the cine
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