FILM TECHNIQUE AND FILM ACTING PUDOVKIN PDF

Pudovkin’s. Film Technique and Film Acting. No more valuable manuals of the practice and theory of film making have been written than these two handbooks. FILM TECHNIQUE AND FILM ACTING The Cinema Writings of V. I. PUDOVKIN Translated by IVOR MONTAGU Introduction by LEWIS JACOBS BONANZA. Film Technique and Film Acting – The Cinema Writings of V.I. Pudovkin has 13 ratings and 3 reviews. Tobias said: Forget Eisenstein. Everything you need i.

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Vsevolod Pudovkin – Wikipedia

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Film Technique and Film Acting – The Cinema Writings of V.I. Pudovkin

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Film Technique and Film Acting – The Cinema Writings of V.I. Pudovkin by V.I. Pudovkin

This book is not yet featured on Listopia. Nov 08, Tobias Grzesik rated it it was amazing. Everything you need in terms of montage and film theory is in here. Pudoviin late find for me after reading all of Eisenstein, but seriously Pudovkin is the essence and what you are looking for.

Rediscovered by Scorcese and Co. I studied Pudovkin’s very useful “cinema book”, “very important book” to learn “history of Soviet cinema”.

Film Technique And Film Acting – The Cinema Writings Of V.I. Pudovkin

Refried rated it liked it Mar 21, Sam rated it it was techniquue Nov 21, Gregie Bhoy rated it it was amazing Mar 11, Surprisingly thorough and relatively current description of all aspects of making a film.

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Pudovkin was a contemporary of Eisenstein thought to produce works of a similar quality. It was apparently the “film school” of its time and was the only book on film creation available for decades.

While still interesting, probably current directors will move beyond it very quickly, and it will be of mainly historical interest. There are so many versions and so many dates that I’m unclear on exactly what Surprisingly thorough and relatively current description of all aspects of making a film.

There are so many versions and so many dates that I’m unclear on exactly what was first published where, and on how much of the book is due to Pudovkin, to book editors, or to translators.

Despite not being able to pin down a “definitive version” to my satisfaction, it is generally clear the book is pre-WWII and the content is largely due to Pudovkin himself. Most of what he says is still relevant, the most glaring exception being comments about where and how to break between “reels”.

With two-projector projection, continuous projection, or digital projection tecnhique comments are not just irrelevant but flat wrong.

They make sense only in their original context – projection by only one projector, so audiences saw “reel boundaries” as very short breaks, something like the breaks between movements of a symphony.

Some -not all- of Pudovkin’s discussions of reel breaks were “updated” by a translator who essentially rewrote whole pages to make them more consistent with the current technology. ;udovkin

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