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.

ON FILM TECHNIQUE 81 apprehensible, to construct every composition in such a way that the right-angled boundaries of the screen do not disturb the composition found, but perfectly contain it — that is the achievement towards which film directors strive. THE ORGANISATION OF CHANGE MATERIAL Anyone who knows anything of painting knows how the shape of the canvas on which the picture is painted conditions the composition of the design. The forms presented upon the canvas must be organically enclosed in the boundaries of its space. The same is true of the work of the film director. No movement, no construction is thinkable for him outside that piece of space, limited by a rectangular contour and technically termed the " picture."38 It is true that not always does a film director happen to deal with subordination as direct as that of actors receiving orders easily obeyed. He often encounters happenings and processes that cannot be directly subordinated to his will. For the director strives ever to seize and use everything that the world around can offer him. And far from everything in this world obeys the shouting of a director. For instance, the shooting of a sea, a waterfall, a storm, an avalanche : all this is often brought into a film, and, forming a firmly integral part of the subject, must consequently be organised exactly as any other material prepared for editing. Here the director is completely submerged in a mass of chance happenings. Nothing is directly obedient to his will. The movements