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 #:
00069
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 45 scenarist shows the guard turning out. Time is very short — the spies are shown beginning their work. Thus, transferring attention now to the rescuers, now to the spies, the scenarist answers with actual impulses to increase of the spectator's interest, and the construction (editing) of the sequence is correctly achieved. There is a law in psychology that lays it down that if an emotion give birth to a certain movement, by imitation of this movement the corresponding emotion can be called forth. If the scenarist can effect in even rhythm the transference of interest of the intent spectator, if he can so construct the elements of increasing interest that the question, " What is happening at the other place ? " arises and at the same moment the spectator is transferred whither he wishes to go, then the editing thus created can really excite the spectator. One must learn to understand that editing is in actual fact a compulsory and deliberate guidance of the thoughts and associations of the spectator. If the editing be merely an uncontrolled combination of the various pieces, the spectator will understand (apprehend) nothing from it ; but if it be co-ordinated according to a definitely selected course of events or conceptual line, either agitated or calm, it will either excite or soothe the spectator. EDITING OF THE SCENARIO 26 The film is divided into reels. The reels are usually equal in length, on an average from 900 to