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 #:
000107
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 83 The recording of the animals that so often appear in films affords a further instance of the use of special methods in organising the adventitious. It is said that an American director spent sixty working hours and the corresponding amount of celluloid in order to get on the screen the exact spring that he needed of a kitten on a mouse. In another film a sea-lion had to be recorded.39 The timorous animal swam rapidly and irregularly around its pond. Of course, the simple method would have been to take in the whole pond, setting up the camera the required distance away, and enabling the spectator to follow the movements of the sea-lion just as a given observer standing on the bank would have followed them. The camera could not, and had not, to watch thus ; it had before it a number of separate problems. The camera had to observe how the beast glided swiftly and dexterously over the surface of the water, and it had to observe it from the best viewpoint. The sea-lion had also to be seen from closer, making close-ups necessary. The editing-plan, that preceded the taking of the shots, was as follows : 1. The sea-lion swims in the pond towards the bank — taken slightly from above, the better to follow the movements of the beast in the water. 2. The sea-lion springs out on to the bank, and then plunges back into the water. 3. It swims back to its den. Three times had the viewpoint of the camera to be altered. Once the photographing had to be from