Abstract
The Kuleshov Effect, which is the basis of montage editing in film, holds an instructive analogy for the study of the 1598 folio. In the second decade of the twentieth century, Russian filmmaker Lev Kuleshov tried an experiment in which he showed one group of spectators a still photograph of a handsome actor, followed by a photograph of a bowl of soup. To another group he showed the same photograph followed by a photograph of a pretty girl, and for the final group the actor’s image was followed by a photograph of a coffin. When asked to interpret what they had seen, spectators ascribed to the actor’s face varied emotions, based on what they presumed he was “looking at”: the soup, the girl, or the coffin. The point is that spectators create meaning by inferring relationships among images they see, and that the order in which the images are experienced affects interpretation. A similar idea was elementary to creators of renaissance emblem-books, and undoubtedly was quite apparent to the Sidneys, who were aware of the late Sir Philip’s famous speiavi impresa (I had huped), and to whom books interpreting imprese had been dedicated.
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Notes
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© 2011 Joel B. Davis
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Davis, J.B. (2011). Organic and Artificial Wholes in the Invention of English Literature: Or, the Ontological Status of the 1598 folio of The Countesse of Pembrokes Arcadia . In: The Countesse of Pembrokes Arcadia and the Invention of English Literature. Palgrave Macmillan, New York. https://doi.org/10.1057/9780230339705_6
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