named after Lev Kuleshov, Russian director 1910s
important editing style;
it says that viewers derive more meaning from the interaction of two sequential shots than from a single shot in isolation
alternating a shot of an expressionless actor with different shots of objects or scenes, such as a bowl of soup, a girl in a coffin, or a woman on a divan. The audience attributed different emotions to the actor’s face depending on what he was “looking at”, even though the footage of the actor was the same each time
basically, context adds a lot of meaning
used it to show power of editing
this along with montage made up early soviet cinema