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 #:
00095
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 71 the pieces be united in definite order. Every event takes place not only in space, but in time, and, just as filmic space is created, as we saw, by the junction in sequence of selected pieces, so must also be created, moulded from the elements of real time, a new filmic time. Let us suppose that, at the junction of the pieces shot to represent the accident, no thought has been given to their proportionate lengths ; in result the editing is as follows : 1. Someone crosses the street. 2. Long : the face of the chauffeur at his brake. 3. Equally long : the screaming, wide-open mouth of the victim. 4. The braked wheel and all the other pieces shown similarly in very long strips. A reel of film cut in this way would, even in correct spacial sequence, appear absurd to the spectator. The car would appear to travel slowly. The inherently short process of running-over would be disproportionately and incomprehensibly drawn out. The event would disappear from the screen, leaving only the projection of some chance material. Only when the right length has been found for every piece, building a rapid, almost convulsive rhythm of picture alternation, analogous to the panic glance, thrown this way and that, of an observer mastered by horror, only then will the screen breathe a life of its own imparted to it by the director. And this is because the appearance created by the director is enclosed, not only in filmic space, but also in filmic