Film technique and film acting : the cinema writings of V. I. Pudovkin (1954)

Record Details:

Title:
Film technique and film acting : the cinema writings of V. I. Pudovkin
Date:
1954
Publisher:
London : Vision Press Limited
Volume:
Film technique and film acting : the cinema writings of V. I. Pudovkin
Leaf #:
00050
Language:
English
Collection:
Books
Format:
Books
Contributor:
Niles Essanay Silent Film Museum
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
March 21, 2024
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




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.

26 PUDOVKIN 8. Shot from above. — The running crowd stops, stands for a moment, and then rushes on anew. 9. A section of the running crowd knocks over a woman. 10. Close-up. — The woman who fell raises herself, and clasps her head, swaying. 1 1 . The running mass. Here is shown the editing of quickly alternating pieces, creating the desired excitement by their rhythm. The increase in size of the title emphasises the increasing panic. Of course, this form of scenario requires thorough, special training, but I repeat once again that only determined effort on the part of the scenarist to reach as near as possible to this technically correct form will turn him into a writer able to give in a general treatment material even usable in film work. A scenario will only be good if its writer shall have mastered a knowledge of specific methods, if he know how to use them as weapons for the winning of effect ; otherwise the scenario will be but raw material that must, to an extent of ninety per cent, be subordinated to the treatment of a specialist. Part II THE PLASTIC MATERIAL The scenario-writer must bear always in mind the fact that every sentence that he writes will