The Russians, especially Leo Kuleshov, Sergi Eisenstein and Digi Vertov were all interested in moving the grammar of film editing on.
To even greater heights.
How's this refer back to poetry?
Well, a poet puts images in front of you in the hope that the clash (juxtaposition) or the mere existence of the image itself will generate within you feelings.
The trick, and the head bender, is that those feelings are not being made by the film maker. They are being made by you.
You are taking the images and, like someone joining the dots, your mind sets to work on them to find and create meaning. The more poetic your sensibility (no bad thing for an editor to read poetry and develop the sense of how image and mind link to one another) the greater you will be able to read into things.
To those with less poetic sensibility the following may just look like a random bunch of images intercut with some made white faced nutter. If it bores you, and it might, check out the very creative Kuleshov experiment. It's in Spanish but it won't matter. Maybe the sound of Spanish will conjour something else, out of thing air!
The question to let your mind wander over is: what are the men in the two films thinking about?
However, this experiment is vital to understand how your audience might be perceiving things.
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