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 #:
00055
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
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ON FILM TECHNIQUE 31 images saturated with plastic expression come into your mind. Work on plastic material is of the highest importance for the scenarist. In the process of it he learns to imagine to himself what he has written as it will appear upon the screen, and the knowledge thus acquired is essential for correct and fruitful work. One must try to express one's concepts in clear and vivid visual images. Suppose it be a matter of the characterisation of some person of the action — this person must be placed in such conditions as will make him appear, by means of some action or movement, in the desired light (remember the tramp and the kitten). Suppose it be a matter of the representation of some event — those scenes must be assembled that most vividly emphasise visually the essence of the event represented. In relation to what we have said, we must turn to the question of sub-titles. The usual view of titles as an invading, adventitious element, to be avoided wherever possible, is fundamentally erroneous. The title is an organic part of the film and, consequently, of the scenario. Naturally a title can be superfluous, but only in the sense in which a whole scene can be superfluous. According to their content titles can be divided into two groups : CONTINUITY TITLES Titles of this kind give the spectator a necessary explanation in short and clear form, and thus