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THE FILM AND THE PUBLIC
hibition. The history of the present complex situation is given, and the causes of the recurrent financial crises to which the industry is subject are analysed.
Eisenstein. A biography by Marie Seton. The Bodley Head, 1952. Marie Seton was a close friend of Eisenstein, and this brilliant and moving biography succeeds in combining a very personal portrait of one of the rare men of genius in the cinema with a careful valuation of his work and influence. The political tensions which surrounded and frustrated him are fairly presented by one who sides with Eisenstein in his great personal and public difficulties.
The World of Robert Flaherty. Richard Griffith. Gollancz, 1953. In this book Richard Griffith brings together a series of documents about Flaherty's films and film-making written mostly by Flaherty himself and by his wife, Frances. There are omissions, and the book, readable though it is, is no substitute for the biography which must eventually be written.
A Pictorial History of the Silent Screen. Daniel Blum. Hamish Hamilton, 1954. This massive collection of stills covers the history of the silent film mainly in the United States from the time of Edison.
2. The Art of the Film
Film Technique and Film Acting. V. I. Pudovkin. Translated by Ivor Montagu. Vision Press, 1954. Pudovkin's two books, the first originally published by Gollancz in 1929 and the second by Newnes in 1935, are essential to understanding the first phase of Soviet Russian film theory and practice. They give, together with Eisenstein's far more difficult books, the standard exposition of the once-famous Russian theories of montage (editing) and typage (the principle of casting for Russian films of the first period).
Film. Rudolf Arnheim. Faber, 1933. A comparatively early study in film aesthetics. Not easy reading, but rewarding.
Film Craft. Adrian Brunei. Newnes, 1933. The studio and scenario in working dress. A collection of many interesting comments from different participants in the collective film job.
Film Music. Kurt London. Faber, 1936. Designed rather for the musician than the layman, but of considerable general interest.
Garbo and the Night-Watchmen. Alistair Cooke. Cape, 1937. Cooke calls this a bedside book. Its bedside manner is limited to keep
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