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