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 #:
00085
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 61 Cathedral. What happened as a result? Though the shooting had been done in varied locations, the spectator perceived the scene as a whole. The parts of real space picked out by the camera appeared concentrated, as it were, upon the screen. There resulted what Kuleshov termed " creative geography." By the process of junction of pieces of celluloid appeared a new, filmic space without existence in reality. Buildings separated by a distance of thousands of miles were concentrated to a space that could be covered by a few paces of the actors. THE MATERIAL OF FILMS We have now established the chief points in the difference between the work of the film director and that of the theatrical producer. This difference lies in the distinction of material. The theatrical producer works with real actuality, which, though he may always remould, yet forces him to remain bound by the laws of real space and real time. The film director, on the other hand, has as his material the finished, recorded celluloid. This material from which his final work is composed consists not of living men or real landscapes, not of real, actual stage-sets, but only of their images, recorded on separate strips that can be shortened, altered, and asembled according to his will. The elements of reality are fixed on these pieces ; by combining them in his selected sequence, shortening and lengthening them according to his desire, the director builds up his own " filmic " time and " filmic " space. He