ABSTRACT This article seeks to re-contextualize Lev Kuleshov’s By the Law (Po zakonu, 1926) as a chamber film, a genre mostly associated with Weimar-era German cinema (the Kammerspielfilm) that uses naturalist settings and characters; expressive, chiaroscuro lighting; and slow, ponderous acting that critique lower-middle-class lives. By the Law is the result of Kuleshov’s montage experiments and theoretical reworking of chamber film dynamics, all of which were undertaken in a climate of material and financial scarcity. In order to understand how Kuleshov both adopted and reinvigorated chamber aesthetics, we need to examine Kuleshov’s process of adapting two naturalist Jack London short stories, ‘Just Meat’ (1906) and ‘The Unexpected’ (1905). After developing a process of making études, or films without film, with material like ‘Just Meat’, Kuleshov would extend his experimentation to shooting and editing By the Law deliberately as a chamber film. In particular, his use of expressive American montage represents an important evolution away from the German Kammer tradition.

中文翻译：

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莫斯科上的克朗代克：Lev Kuleshov、杰克伦敦短篇小说和室内电影

摘要 本文试图将 Lev Kuleshov 的 By the Law（Po zakonu，1926 年）重新定位为室内电影，这种类型主要与魏玛时代的德国电影（Kammerspielfilm）相关，使用自然主义的背景和人物；富有表现力的明暗对比照明；缓慢而沉重的表演批评了中下阶层的生活。根据定律是 Kuleshov 蒙太奇实验和室膜动力学理论改造的结果，所有这些都是在物质和资金短缺的环境中进行的。为了理解 Kuleshov 如何采用和重振室内美学，我们需要检查 Kuleshov 改编两个博物学家杰克伦敦短篇小说“Just Meat”（1906 年）和“The Unexpected”（1905 年）的过程。在开发了制作练习曲或没有胶片的电影的过程后，使用“Just Meat”等材料，Kuleshov 将他的实验扩展到拍摄和剪辑 By the Law 故意将其作为室内电影。特别是，他使用富有表现力的美式蒙太奇代表了远离德国 Kammer 传统的重要演变。