9. Read the text and complete it with the missing words.

foundation • audience • individual • emotion • control • shot • stock • combination

Soviet Montage and the Kuleshov Effect
The word ‘montage’ is rooted in the French language as a term to describe the connection of 1. pieces, whether they be film, music or images, into a cohesive whole. To understand why montages became a major component of Soviet cinema, we have to first look at how the industry got to that point.
The Moscow Film School was founded in 1919 during the Russian Revolution. One of the foremost professors at the School was Lev Kuleshov, who had begun experimenting with new ways of editing film by 1920. In 1923, Lenin and the Bolsheviks usurped 2. of the Russian government. What followed was a period of radical change, both socially and economically. Consequently, at this time it was incredibly difficult to find film 3. in Russia, so instead, the people were left to study film rather than create it.
Kuleshov, along with his students, explored the process of film editing rigorously. During his professorship, Kuleshov released a short film that would go on to become the 4. of Soviet Montage Theory.
The idea behind Kuleshov’s short film was to combine a single, centre-framed 5. of the popular actor Ivan Mosjoukine with three other distinct shots. The first is a bowl of soup, the second is a girl in a coffin, and the third is a woman lying on a couch. The goal behind this method was to create a montage where the 6. of shots would evoke something different each time, such as hunger (soup), sadness (coffin), and desire (woman). Kuleshov was credited with pioneering the evoking of 7. through contrasting images, therefore the technique became known as the Kuleshov effect, which is still widely used in cinema today, as it allows a filmmaker to communicate with the 8. solely through editing.
Adapted from: https://www.studiobinder.com/blog/soviet-montage-theory/