Tech- nical cinematographic terms afford wide oppor- tunities for ambiguity and obscurity in two ways.
The great significance here alluded to by Pudovkin is the economic consequence that cost of performance becomes a mere fraction of cost of production.
The action takes place in this opening.
And this process can no doubt best be effected in actual concert with the actor.
(First published as Number Three of a series of popular scientific film handbooks by Kinopetchat, Moscow and Leningrad, 1926.) / II film director AND film material Part I THE peculiarities OF film material THE film AND THE theatre IN the earliest years of its existence.The spectator was presented with the pieces thus joined as one clear, uninterrupted action : a meeting of two young people, an invitation to a nearby house, and an entry into.People so exceptionally talented that they can live, and not act, are very seldom met with, while if you ask an ordinary actor merely to sit quietly and not to act, he will act for your benefit the type of a non-acting actor.To distribute the material shot and its movements in the rectangle of the picture in such a way that everything is clearly and sharply ON film technique 81 apprehensible, to construct every composition in such a way that the right-angled boundaries of the screen.For work with the actor this would not only be unnecessary, but wrong and harmful.
During his work the film director does not see what takes place in front of him with the eye of a normal spectator he looks at it with the eye of the lens.
A revolver is a silent threat, a flying racing-car is a pledge of rescue or of help arriving in time.
The one and only basis for the formation of a col- lective with such an understanding is : first and fore- most, the organic collaboration in the creative process of all its component workers; next, agree- ment in viewpoint, agreement in methods of work,.
(We recall that on the stage the actor must endow his voice with a strength determined not by the distance separating him from windows 7 loader 2.0 0 by daz his colleague, but by that separating him from the spectator seated in the gallery.) The elementary crudity of theatrical make-up becomes, also.
In sound film the actor's possibilities in his means of organising the form of his work to be presented to the spectator are extremely widened, and at the same time there has come greater need for precision and point.Already in planning the action the basic incidents that are to determine its shape must infallibly be mapped out.I recall how, taking full advantage of the silence of the cinema in the old days, I used literally to be unable to restrain myself from uttering words of excited praise that reached and encouraged the actor in the middle of his acting by reason.It is important to realise that even in the pre- paratory general treatment of the scenario must be indicated nothing that is impossible to represent, or that is inessential, but only that which can be established as clear and plastically expressive key- stones.Rehearsal work of this kind is precisely the oppor- tunity for the actor to transform the abstract thought and general line of expression that he has hit on to express the image into concrete acts and manners of behaviour.This purpose is, of course, the actor's work on his acting image.