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 #:
00099
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
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.

ON FILM TECHNIQUE 75 In order to shoot in editable form so simple an action as a take-off, we must either stop after the first movement of the aeroplane, and, having quickly changed the position of the camera, placing it at the tail-end of the machine, take the continuation of the movement, or we must unavoidably repeat the movement of the aeroplane twice ; once let it travel towards the camera, and, the second time, changing the set-up, away from the camera. In both cases we must, in order to obtain the filmic representation desired, interrupt the natural course of the action, either by stopping or by repetition. Almost invariably, in shooting a dynamically continuous action, we must, if we wish to obtain from it the necessary details, either stop it by interruption or repeat it several times. In such a way we must always make our action dependent on the will of the director, even in the shooting of the simplest events that have nothing to do with " artistic " direction. If we chose not to interfere with the natural unfolding of the real event, then we should be knowingly making the film impossible. We should have left nothing but a slavish fixation of the event, excluding all possibility of using such advantages of filmic representation as the particularisation of details and the elimination of superfluous transitory points. ORGANISATION OF THE MATERIAL TO BE SHOT We now turn to a new side of directorial work — namely, the methods of organisation of the material