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 #:
00077
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 53 scene through in its exact theatrical sequence ; he recorded the walkings to and fro, the entrances and exits of the actors. He took the scene thus playedthrough as a whole, while the cameraman, always turning, fixed it as a whole upon the celluloid. The process of shooting could not be conceived of otherwise, for as director's material served these same real persons — actors — with whom one worked also in the Theatre ; the camera served only for the simple fixation of scenes already completely arranged and definitely planned. The pieces of film shot were stuck together in simple temporal sequence of the developing action, just as the act of a play is formed from scenes, and then were presented to the public as a picture. To sum up in short, the work of the film director differed in no wise from that of the theatrical producer. A play, exactly recorded upon celluloid and projected upon a screen, with the actors deprived of their words — that was the film of those early days. THE METHODS OF THE FILM The Americans were the first to discover in the filmplay the presence of peculiar possibilities of its own. It was perceived that the film can not only make a simple record of the events passing before the lens, but that it is in a position to reproduce them upon the screen by special methods, proper only to itself. Let us take as example a demonstration that files by upon the street. Let us picture to ourselves an observer of that demonstration. In order to receive