IntroductionIn the presented essay I will compare the working style of the selected artists in film editing. I will try to highlight some regularities and general characteristics of Soviet cinema. At the same time I will try to capture above all what is common in their systems and what is similar or conversely what is different. For my analysis, I will rely on the feature films of the Soviet avant-garde, namely the films - Battleship Potemkin (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with the camera (D Vertov, 1929).The Montage SchoolMost films that were created in the Soviet Union, outside of the montage school, use themes from sitcoms and various literary adaptations. Conversely, directors of the montage school chose a subject related to the uprising or another historically revolutionary movement. It was mainly the one that these subjects proposed to the filmmakers to show any conflict, or also because they were trying to highlight the communist ideology. Sergei Eisenstein and Vsevolod Pudovkin used this style particularly in films that recall the twentieth anniversary of the failed revolution of 1905. Montage has been characterized since the early twenties as a process of synthesis, constructing something new and in terms physical planes. also something quite simple. Most montage films were created as a dialectical process, where initially two meanings of consecutive shots form a third meaning. Soviet school films are also mass hero films. The characters act and react, but they are not the expression of individuals, but rather of a certain social class. One person can represent the whole class. Eisenstein, for example, in the film The Battleship Potemkin completely eliminates...... middle of paper ...... and not only important events, he stops at the store, or stays on a field. Vertov did not hide behind anything that could lead to the idea that not all events presented depend on numerous filmmaking techniques, on the contrary, he makes this explicit. The film ends with the final image of the city sleeping again, the image transferred to canvas and ends the projection.Works CitedDavid Bordwell. The idea of ​​montage in Soviet art and cinema. – Cinema Journal, Vol. 1, no. 2, 1972, 9-17. Richard Taylor. Cinematographic propaganda: Soviet Russia and Nazi Germany. – London, 1979, 81-91. Vsevolod Pudovkin. Cinematographic technique. On publishing, 121 – 126.PŁAŻEWSKI, Jerzy; TABÉRY, Karel. Djiny film: 1895-2005. Vyd. 1. Praha: Academia, 2009. s.79. SADOUL, Georges. There is a magnificent film: the light is at hand. Vyd. 2. Prague: Orbis, 1963. s.156.