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 #:
00072
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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48 PUDOVKIN scenes and even separate shots of the scenes to one another, thus, as it were, forcing the spectator to compare the two actions all the time, one strengthening the other. The editing of contrast is one of the most effective, but also one of the commonest and most standardised, of methods, and so care should be taken not to overdo it. Parallelism. — This method resembles contrast, but is considerably wider. Its substance can be explained more clearly by an example. In a scenario as yet unproduced a section occurs as follows : a working man, one of the leaders of a strike, is condemned to death ; the execution is fixed for 5 a.m. The sequence is edited thus : a factoryowner, employer of the condemned man, is leaving a restaurant drunk, he looks at his wrist-watch : 4 o'clock. The accused is shown — he is being made ready to be led out. Again the manufacturer, he rings a door-bell to ask the time : 4.30. The prison waggon drives along the street under heavy guard. The maid who opens the door — the wife of the condemned — is subjected to a sudden senseless assault. The drunken factory-owner snores on a bed, his leg with trouser-end upturned, his hand hanging down with wrist-watch visible, the hands of the watch crawl slowly to 5 o'clock. The workman is being hanged. In this instance two thematically unconnected incidents develop in parallel by means of the watch that tells of the approaching execution. The watch on the wrist of the callous brute, as it were connects him with the