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 #:
00062
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.

38 PUDOVKIN along the object showing various parts of it one after the other. This is a purely technical method, and its significance is obvious. Forward or Backward Movement ( Tracking or Trolleying). — The camera approaches or becomes distant from the object during the shot. This method is nowadays scarcely ever used.23 It gives a gradual transition from long-shot to close-up, and the reverse. Shots Out of Focus. — In the latest American films one often notices sections (especially faces in closeup) taken so that the outlines appear slightly indistinct.24 This method undoubtedly gives a special colour of softness and " tenderness," especially in scenes of lyric character, but it must be considered as a specific aesthetic method devoid of general application. Everything said here regarding simple methods of taking shots has certainly only information value. What particular method of shooting is to be used, only his own taste and his own finer feelings can tell the scenarist. Here are no rules ; the field for new invention and combination is wide. METHODS OF TREATMENT OF THE MATERIAL (Structural Editing) A cinematograph film, and consequently also a scenario, is always divided into a great number of separate pieces (more correctly, it is built out of these pieces). The sum of the shooting-script is