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 on the contrary what differs. For my analysis, I will rely on the feature films of the Soviet avant-garde, namely these are the films: Battleship Potemkin (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with the Movie Camera (D Vertov, 1929).The school of montageMost of the films that were made in the Soviet Union, outside the school of montage, use topics from sitcoms and various literary genres. adaptations. In contrast, directors of the editing school decided on a topic related to the uprising or another historically revolutionary movement. This was mainly why these topics offered the directors to show any conflict, or even because they tried to highlight the communist ideology. Especially Sergei Eisenstein and Vsevolod Pudovkin used this style, in films commemorating the twentieth anniversary of the failed revolution of 1905. Editing is characterized from the beginning of the twenties as a process of synthesis, building something new and in terms of physical planes even something quite simple. Most montage films were created as a dialectical process, where initially a third meaning is formed from two meanings of consecutive shots. Films of the Soviet school are also mass hero films. The characters act and react, but they are not the expression of individuals, but of a certain social class. One person can represent the entire class. Eisenstein, for example, in the film Battleship Potemkin, completely eliminating... half the paper... but not only significant events, stops at the shop or while remaining on a field. Vertov does not hide behind anything that might suggest that all the events shown do not depend on many cinematographic techniques, on the contrary, he makes this explicitly clear. The film ends with the final image of the city sleeping again, the image transferred to canvas and the projection ends. Works Cited David Bordwell. The idea of ​​montage in Soviet art and cinema. – Cinema diary, vol. 1, no. 2, 1972, 9-17.Richard Taylor. Film propaganda: Soviet Russia and Nazi Germany. – London, 1979, 81-91.Vsevolod Pudovkin. From cinematographic technique. On editing, 121 – 126.PŁAŻEWSKI, Jerzy; TABERY, Karel. Djiny filmu: 1895-2005. See 1. Praha: Academia, 2009. s.79.SADOUL, Georges. This fantastic film: da Lumiera až do současné doby. See 2. Prague: Orbis, 1963. s.156.