Film technique and film acting : the cinema writings of V. I. Pudovkin (1954)

Page scan 000335 from Film technique and film acting : the cinema writings of V. I. Pudovkin

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 #:
000335
Language:
English
Collection:
Books
Format:
Books
Contributor:
Niles Essanay Silent Film Museum
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Date Added:
May 02, 2025
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CHAPTER VII DIALOGUE We now proceed to the next element in the film actor's work which offers special difficulties. This is the absence, occurring in certain circumstances, of the opposite number in a duologue. We can scarcely imagine an instance of an actor in the theatre being obliged to talk to an opposite number in reality absent. In the cinema this happens time and again owing to technical complications resulting from the desire to exploit the method of editing in construction of dialogue. The stage, of course, is familiar with what is termed monologue, where the actor's direct opposite number in dialogue is the audience. But the cinema has a host of very different examples. To cite an obvious one, let us take the case of a scene in which an actor addresses a crowd of Mongols, responding to their reactions. Quite likely the actor's words would be recorded separately in Moscow and joined up with pieces of scenes taken in Siberia. Certainly it is possible to counter this example with arguments, valid to some extent, denying the necessity, at least in the normal course, for breaches of this kind in the living linkage of the protagonists of the general action. But I hold that such breaches, 79