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.

52 PUDOVKIN one). The great significance was realised of the fact that from a single negative can be printed many positives, and that by this means a reel of film can be multiplied like a book, and spread broadcast in many copies.28 Great possibilities began to open themselves out. No longer was the film regarded as a mere novelty. The first experiments in recording serious and significant material appeared. The relationship with the Theatre could not, however, yet be dissolved, and it is easy to understand how, once again, the first steps of the film producer consisted in attempts to carry plays over on to celluloid. It seemed at that time to be especially interesting to endow the theatrical performance — the work of the actor, whose art had hitherto been but transitory, and real only in the moment of perception by the spectator — with the quality of duration. The film remained, as before, but living photography. Art did not enter into the work of him who made it. He only photographed the " art of the actor." Of a peculiar method for the film actor, of peculiar and special properties of the film or of technique in shooting the picture for the director, there could as yet be no suspicion. How, then, did the film director of that time work ? At his disposal was a scenario, exactly resembling the play written for the Theatre by the playwright ; only the words of the characters were missing, and these, as far as possible, were replaced by dumb show, and sometimes by long-winded titles. The director played the