Pudovkin, V. (trans Montagu, I.) 1954 Film Technique and Film Acting. Vision, London. (Especially pp.38-47)
4 thoughts on “Pudovkin, V. (trans Montagu, I.) 1954 Film Technique and Film Acting. Vision, London. (Especially pp.38-47)”
This part of the book is an introduction of film editing as a basic technique. It starts with talking about the basic concept: what is a film and how is it constructed by hundreds of small pieces. The relationship between shot, scene, sequence and scenario is well explained that even a person not studying film can understand the idea. It then goes to the details of using techniques to edit the scene, sequence and scenario. Many examples are raised to explain the reason of using certain device to edit scenes or sequences under certain circumstance. As the author suggests, a scene is not simply a collection of shots, a sequence is not simply a collection of scenes. There are lots of rules and devices we shall study in order to edit a film, and I strongly agree that this is perfect book for beginners to start with.
Pudovkin discuss the editing of scene. As he said people both are familiar with the close up, but is it everyone know how probably to use close up? The basic principle is to understand the importance of close up. They have to confirm whether this close up can direct the audience perceive detail or not. Some people feel it might be interrupted, if the editor cut it to a long shot. However, it is absolutely wrong idea, Pudovkin think it represent a proper form of construction. In addition, he talks the editing of sequence. Actually, the sequence is constructed from scenes. The editing cannot be barley uncontrolled combination of sequence, because it is easily let audience cannot understand anything of it. In addition, author introduces a new element which people called dramatic continuity of action, when he talk about the editing of scenario. Similarly, scenario is constructed from sequences. The continuity of different sequence not just as a simple transference of attention from one place to another, but as the development of actions. Then, he lists several main methods, which can give deep impression of specters. Such as contrast, parallelism, symbolism, simultaneity, and lit-motif. Contrasted shots make audience keep comparing and associating the inner meaning of it. This method is quite common and effective. Parallelism also really popular, filmmaker use two unconnected plots in parallel to explore more information. Symbolism is interesting, because it use a abstract way to make audience think deep meaning. Simultaneity is emotional one, it create maximum tension of excitement of spectator. lit-motif often use in the emphasis of basic theme of scenario.
This passage stresses the importance of creating interesting action within a sequence. It places emphasis on translating one’s imagination to moving images on the screen, without a novelist’s tools of written description. Pudovkin explains instead that the filmmaker must carefully choose their action and construct a sequence that best represents the ideas that must be expressed. Pudovkin also places particular emphasis on the importance of cinematography and uses the Griffith method of creating tension and action as an example for the perfect ‘scenarist’; the creator of the scene in a moving image.
The passage is useful in describing the level of detail and thought process that is needed in planning and executing a sequence for the highest and most coherent level of storytelling. Pudovkin filches examples from multiple films, including Saturday Night¸ and juxtaposes them to highlight effective and arbitrary methods for creating action. Pudovkin’s own example for a scene scenario is also highly useful and is vivid in its use of technique and explanation of shooting, framing and cuts to create action and interest in a sequence. Furthermore, his frequent attribution of the Griffith method to filmic examples gives a sense of clarity to his arguments and aforementioned theory for creating action with the footage available.
In this extract, Pudovkin explains the logic behind his editing theories and how they are effective at maintaining the spectator’s interest. He begins with the construction of a scene; emphasising the closeness with which action should be displayed. If audiences are placed at a distance from action, they will be unable to catch minute details pivotal to the scene. Essentially the camera operates as the spectator’s eyes. When a point of interest transfers from one object to the next, the camera (and edit) must respond to that in order to answer the desires and curiosities of the audience. To do this, there must be an “impulse” or otherwise, cue to cut from one shot to the next. The edit of a sequence is done in a similar fashion, in that scenes which follow each other must be in response to what the audience want to see. Pudovkin writes that scenarios (collection of sequences) shall not be long to the point it bores the audience, especially in the earlier portions of the picture to preserve the audience for the “final tension” which usually occurs towards the end of the film.
Pudovkin’s writing was helping in presenting an in-depth deconstruction on of continuity, and how to best edit in a way that will please audience curiosities. His idea of the camera being the eye of the spectator, and the scene as being played out before the spectator offers an interesting way to think about cinema.
This part of the book is an introduction of film editing as a basic technique. It starts with talking about the basic concept: what is a film and how is it constructed by hundreds of small pieces. The relationship between shot, scene, sequence and scenario is well explained that even a person not studying film can understand the idea. It then goes to the details of using techniques to edit the scene, sequence and scenario. Many examples are raised to explain the reason of using certain device to edit scenes or sequences under certain circumstance. As the author suggests, a scene is not simply a collection of shots, a sequence is not simply a collection of scenes. There are lots of rules and devices we shall study in order to edit a film, and I strongly agree that this is perfect book for beginners to start with.
Pudovkin discuss the editing of scene. As he said people both are familiar with the close up, but is it everyone know how probably to use close up? The basic principle is to understand the importance of close up. They have to confirm whether this close up can direct the audience perceive detail or not. Some people feel it might be interrupted, if the editor cut it to a long shot. However, it is absolutely wrong idea, Pudovkin think it represent a proper form of construction. In addition, he talks the editing of sequence. Actually, the sequence is constructed from scenes. The editing cannot be barley uncontrolled combination of sequence, because it is easily let audience cannot understand anything of it. In addition, author introduces a new element which people called dramatic continuity of action, when he talk about the editing of scenario. Similarly, scenario is constructed from sequences. The continuity of different sequence not just as a simple transference of attention from one place to another, but as the development of actions. Then, he lists several main methods, which can give deep impression of specters. Such as contrast, parallelism, symbolism, simultaneity, and lit-motif. Contrasted shots make audience keep comparing and associating the inner meaning of it. This method is quite common and effective. Parallelism also really popular, filmmaker use two unconnected plots in parallel to explore more information. Symbolism is interesting, because it use a abstract way to make audience think deep meaning. Simultaneity is emotional one, it create maximum tension of excitement of spectator. lit-motif often use in the emphasis of basic theme of scenario.
This passage stresses the importance of creating interesting action within a sequence. It places emphasis on translating one’s imagination to moving images on the screen, without a novelist’s tools of written description. Pudovkin explains instead that the filmmaker must carefully choose their action and construct a sequence that best represents the ideas that must be expressed. Pudovkin also places particular emphasis on the importance of cinematography and uses the Griffith method of creating tension and action as an example for the perfect ‘scenarist’; the creator of the scene in a moving image.
The passage is useful in describing the level of detail and thought process that is needed in planning and executing a sequence for the highest and most coherent level of storytelling. Pudovkin filches examples from multiple films, including Saturday Night¸ and juxtaposes them to highlight effective and arbitrary methods for creating action. Pudovkin’s own example for a scene scenario is also highly useful and is vivid in its use of technique and explanation of shooting, framing and cuts to create action and interest in a sequence. Furthermore, his frequent attribution of the Griffith method to filmic examples gives a sense of clarity to his arguments and aforementioned theory for creating action with the footage available.
In this extract, Pudovkin explains the logic behind his editing theories and how they are effective at maintaining the spectator’s interest. He begins with the construction of a scene; emphasising the closeness with which action should be displayed. If audiences are placed at a distance from action, they will be unable to catch minute details pivotal to the scene. Essentially the camera operates as the spectator’s eyes. When a point of interest transfers from one object to the next, the camera (and edit) must respond to that in order to answer the desires and curiosities of the audience. To do this, there must be an “impulse” or otherwise, cue to cut from one shot to the next. The edit of a sequence is done in a similar fashion, in that scenes which follow each other must be in response to what the audience want to see. Pudovkin writes that scenarios (collection of sequences) shall not be long to the point it bores the audience, especially in the earlier portions of the picture to preserve the audience for the “final tension” which usually occurs towards the end of the film.
Pudovkin’s writing was helping in presenting an in-depth deconstruction on of continuity, and how to best edit in a way that will please audience curiosities. His idea of the camera being the eye of the spectator, and the scene as being played out before the spectator offers an interesting way to think about cinema.