We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
x FILM TECHNIQUE AND FILM ACTING
It was during the production of Mother that Pudovkin wrote the first of these two books as part of a series of manuals on film making for use in the State Cinema Institute. The first manual, originally containing 64 pages, was called The Film Scenario; the second, 92 pages long, was called The Film Director and Film Material. So large was their circulation in Russia that they were translated and published abroad in a single handbook entitled Film Technique.
Pudovkin later amplified many of the ideas in this manual in a lecture at the Cinema Institute. At the suggestion of the State Academy of Art Research, he expanded this lecture into a third book which subsequently was called Film Acting. Both books, Film Technique and Film Acting, became standard international reading almost immediately, accepted and proselytized far beyond their author's expectations.
Early in his career, Pudovkin discovered that the human eye does not see things in a mechanical way. That is, the eye seldom focuses on anything from the point of view squarely in front of it except by the merest chance. Instead it is more natural for the eye to perceive things at some angle — either from below, above or from the side. Also, the eye does not focus on an object for a long period of time, but constantly shifts around in a succession of swift impressions. With the aid of the brain these impressions are instantly registered as texture, light and shade, size, weight, etc.
This knowledge aided Pudovkin's formation of film theory. His writing is larded with pertinent observa