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 #:
00071
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 47 employ to this end is the careful distribution of the titles (which always distract the spectator), securing compression of the greater quantity of them into the first reels, and leaving the last one for uninterrupted action. Thus, first is worked out the action of the scenario, the action is then worked out into sequences, the sequences into scenes, and these constructed by editing from the pieces, each corresponding to a camera angle. EDITING AS AN INSTRUMENT OF IMPRESSION (Relational Editing) We have already mentioned, in the section on editing of sequences, that editing is not merely a method of the junction of separate scenes or pieces, but is a method that controls the " psychological guidance " of the spectator. We should now acquaint ourselves with the main special editing methods having as their aim the impression of the spectator. Contrast. — Suppose it be our task to tell of the miserable situation of a starving man ; the story will impress the more vividly if associated with mention of the senseless gluttony of a well-to-do man. On just such a simple contrast relation is based the corresponding editing method. On the screen the impression of this contrast is yet increased, for it is possible not only to relate the starving sequence to the gluttony sequence, but also to relate separate