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 #:
00073
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 49 chief protagonist of the approaching tragic denouement, thus ever present in the consciousness of the spectator. This is undoubtedly an interesting method, capable of considerable development. Symbolism. — In the final scenes of the film Strike the shooting down of workmen is punctuated by shots of the slaughter of a bull in a stockyard. The scenarist, as it were, desires to say : just as a butcher fells a bull with the swing of a pole-axe, so, cruelly and in cold blood, were shot down the workers. This method is especially interesting because, by means of editing, it introduces an abstract concept into the consciousness of the spectator without use of a title. Simultaneity. — In American films the final section is constructed from the simultaneous rapid development of two actions, in which the outcome of one depends on the outcome of the other. The end of the present-day section of Intolerance, already quoted, is thus constructed.27 The whole aim of this method is to create in the spectator a maximum tension of excitement by the constant forcing of a question, such as, in this case : Will they be in time ?^— will they be in time ? The method is a purely emotional one, and nowadays overdone almost to the point of boredom, but it cannot be denied that of all the methods of constructing the end hitherto devised it is the most effective. Leit-motif {reiteration of theme) . — Often it is interesting for the scenarist especially to emphasise the