Film technique and film acting : the cinema writings of V. I. Pudovkin (1954)

Record Details:

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.

II FILM DIRECTOR AND FILM MATERIAL Part I THE PECULIARITIES OF FILM MATERIAL THE FILM AND THE THEATRE IN the earliest years of its existence the film was no more than an interesting invention that made it possible to record movements, a faculty denied to simple photography. On the film, the appearances of all possible movements could be seized and fixed. The first films consisted of primitive attempts to fix upon the celluloid, as a novelty, the movements of a train, crowds passing by upon the street, a landscape seen from a railwaycarriage window, and so forth. Thus, in the beginning, the film was, from its nature, only " living photography." The first attempts to relate cinematography to the world of art were naturally bound up with the Theatre. Similarly only as a novelty, like the shots of the railway-engine and the moving sea, primitive scenes of comic or dramatic character, played by actors, began to be recorded. The film public appeared. There grew up a whole series of relatively small, specialised theatres in which these primitive films were shown. The film now began to assume all the characteristics of an industry (and indeed a very profitable c* 51