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INTRODUCTION v
ent continue to borrow from its rich deposit of ideas, implications and conclusions.
Film Acting, which appeared shortly after the introduction of sound, never had the same deep influence or stirred up the same amount of excitement. This is probably because the problem of film acting was basically another aspect, an extension of the problem of acting in general — an art which already had a great body of tradition and analysis in print, while film technique although utilizing many of the other, older crafts, was nevertheless a new and distinct medium of expression about which very little was known and which had acquired only the beginnings of a tradition.
No more authoritative and knowing person could have been chosen to write these books than V. I. Pudovkin, acknowledged internationally as one of the greatest of film directors. His early pictures — Mother, The End of St. Petersburg, Storm Over Asia — along with those of other Soviet directors, burst upon the American scene between the years of 1927-1930, provoking tremendous excitement, controversy and admiration. Intellectuals, artists and film makers argued hotly about the merits of what they were forced by these films to concede to be an art. Cries of "propaganda" were mingled with cheers for the pictures' dynamic forcefulness, high imagination and profound cinematic skill. When all the excitement had simmered down, it was agreed that the films of Pudovkin and his countrymen had ushered in a new era in screen artistry.
The End of St Petersburg (1927) and Storm Over
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