Both were exceptional, and Eisenstein is seen as the father of modern montage theory. Continue on to check out an informative video that explains Pudovkin's essential editing techniques. Though Pudovkin's name may not ring a bell for some, his teacher's might. Pudovkin was the student of Lev Kuleshov , who, for one, was arguably the very first film theorist ever, and two, was the one who demonstrated that editing meant more than splicing bits of film together to form a coherent story; it was powerful and could evoke emotions based on their order and juxtaposition. Kuleshov's original editing experiment is below:. It is argued that Pudovkin was the experiment's co-creator.

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On my work desk within easy reach is a worn, red cloth-bound hardcover book written by a Russian filmmaker named Vsevolod I. Though, written in or published in English it reads as importantly today as it did then.

Kubrick called it the most important book on film he ever read, and he was known to carry a copy of Pudovkin with him onto set. Like his contemporary Sergei Eisenstien, Pudovkins work is largely consumed by montage, or editing. Editing is the basic creative force, by power of which the souless photographs the separate shots are engineered into living, cinematographic form. He spends a great deal of time talking about the script, or scenario, the director, the cameraman, and the actor — all working together to build the components of the montage.

I wish every filmmaker and screenwriter would read this book, because it would rescue our worn impulses from our non-cinematic defaults, and quite frankly, we would make better movies. When we are gripped by the work of Kubrick, Welles, Fellini or Bresson, we are in the hands of filmmakers in the tradition of Pudovkin. And if you were to ever try to study the work of Kubrick, you would need a copy of Pudovkin in your hand, because Pudovkin was always in Kubricks hand.

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Vsevolod Pudovkin

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Film Technique and Film Acting

By Vsevolod Illarionovich Pudovkin. The meaning of the shooting-script —The construction of the scenario—The theme—The action-treatment of the theme—Conclusion. The simplest specific methods of shooting—Method of treatment of the material: structural editing—Editing of the scene—Editing of the sequence—Editing of the Scenario—Editing as an instrument of impression: relational editing. The film and the theatre—The methods of the film—Film and realty—Filmic space and time—The material of films—Analysis—Editing: the logic of filmic analysis—The necessity to interfere with movement—Organisation of the material to be shot—Arranging setups—The organisation of chance material—Filmic form—The technique of directorial work. The director and the scenarist—The environment of the film—The characters in the environment—The establishment of the rhythm of the film. Two kinds of production—The film actor and the film type—Planning the acting of the film type—The ensemble —Expressive movement—Expressive objects—The director as creator of the ensemble. The cameraman and the camera—The camera and its viewpoint—The shooting of movement—The camera compels the spectator to see as the director wishes—The shaping of the composition—The laboratory—Collectivism: the basis of film-work.

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