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 #:
00061
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.

ON FILM TECHNIQUE 37 stands on a hill and gazes into the distance, (b) A road taken from far off is shown in a little round mask ; along the road gallops a horse. A dual object is attained with this kind of shot : in the first place, by the narrowing of the field of view the attention of the spectator becomes concentrated on that which the hero is looking at ; in the second place, the small scale by which the impression of distance is maintained is not lost. The Mix. — The transition from one section of the film to another is effected not by the usual cut, but gradually — that is to say, one image disappears slowly and another appears in its place. This method has also a mainly rhythmic significance. Mixes involve a slow rhythm. Often they are used in the representation of a flash-back, as if imitating the birth of one idea from another. It is necessary to warn the scenarist against overuse of mixes. Technically, in making a mix, the cameraman, after having taken the one shot, must immediately begin to take the other, which is not always possible. If, for example, in a scenario the action is indicated as follows : the Spasskaia Tower (Moscow) mix to the Isaakievski Cathedral (Leningrad), it means that after taking the tower the cameraman must proceed immediately to Leningrad.21 The Panorama (Pan). — In shooting, the camera is given an even movement sideways, upwards, or downwards.22 The lens of the camera turns to follow the object shot as it moves before it, or glides