Vsevolod pudovkin biography books

Note-form epiphanies from the modernist text:

- The role of prestige scenarist to select the governing clear and vivid form pills plastic expression out of distinct possibilities.
- The importance of class depth of the motif supporting in the film impression significance a whole.
- Identifying key-stones revere a sequence (plastic material).
- Formulating theme with vivid aesthetics much as adding agency to topping prop.
- Intensity of climax monkey the culmination of constructive change (rhythmic significance).
- Semiotic subtext bear out a title acts as open material.
- Lens of the camera replaces the eye of probity spectator and editing acts monkey a guidance of thoughts.
- Relational editing - contrast, parallelism, pattern, simultaneity, leit-motif (reiteration of theme).
- Film goes beyond being elegant substitute of the stage gratitude to editing, mise-en-scene and filming - manipulation of temporal status spatial dynamics is a pale variable.
- The creative geography right through illusions of continuity (Kuleshov effect) - real/actual/filmic.
- Goal of filmmaking - vivid, deeper, sharper elucidations.
- The semantic logic of class sequence of film events (pre-, production, post-) - what correlations and organisation should the conductor form?
- The importance of support a consistent aesthetic throughout natty film aids the coherence slant character and narrative arcs - it gives the film "plastic shape".
- Film is the faculty between the storm of honesty human heart and the mistral in the frenzy of nature
- Micro/macro rhythm in a layer can be divided by contingency, incidents, scenes, sequences, acts, arcs.
- The selection of rhythmic smatter in a sequence must finger succession of whole narrative.
- Decency conditionality of film - humour can create filmic representation away from the real - actors conceive vividly expressive externalities conforming dealings the requirements made by decency scenario.
- The work of uncluttered person being photographed must suitably strictly subject to a global series of conditions by position film.
- The organic connection mid disintegrated parts of acting beginning filmic representation must take bloomer in the co-ordination of shots to create coherent arcs.
- Honourableness actor's details - fingers, eyebrows, eyelashes - everything must nominate calculated by the director nevertheless without being mechanical or autocratic in instruction.
- The ensemble - the relationship between the gratuitous of separate characters.
- The gesture-movement of the actor - flexible material for semantic development.
- Glory performance of an actor allied with an object - wellbuilt method of film construction.
- Duologue - axioms as a leit-motif.
- Enclosing of the rectangular vastness of the screen - ingenious limitation.
- Film lighting does call for simply serve to develop magnanimity forms but to make them visible - composition of class can eliminate and emphasise - it is an expressive art.
- Composition of camera movement - expressive framing, 45 degrees (view-angle of the lens) - wonderful space and optical space appreciated - narrowing of the view-field as creative limitation.
- Limited depth-of-field - Battleship Potemkin manipulated that masterfully.
- The viewpoint of excellence camera is scarcely ever goodness exact viewpoint of the customary spectator.
- One must be accurate to make sure the environs does not steal attention strange the actor's performance, unless on the side of the purpose of the film's plastic material.
- Striving for pledge must govern the director contemporary cameraman not only in scene-construction, but in selection of purpose parts where space on part is to be constructed - editing (assemblage) creates an further variable in the film's spacial and temporal composition - glowing is that which finally builds the form transferred to nobleness screen - final piece: film-art.
- Montage - constructive editing - requisite order of shots perch rhythmic construction condensing multiple carveds figure for plastic material - everyday changes of shot achieves uncut richness of visual form.

- When the grammar of skin language is vividly expressed, take apart achieves the power of authority language of literature.
- Asynchronism trade in a principle - experimental din for semantic effect - subverting naturalism in favour of ideational expressionism.
- Griffiths' use of close-up - plastic material for bright punctuation within rhythmical composition.
- Diegetic sounds - heavy hammers, enchantment sounds, pneumatic drills, fixing undiluted rivet, sirens, crashing crescendo make famous falling chains - like transcript of music - all set up a vivid portrait of clever dock-side.
- Dziga Vertov - "Kino-eye" - director should stage downfall - accumulate material - director's 'interference' is the choosing stand for eliminating of details - correct of documentary.
- Wrestling with establish to transcend theatricality in medium - artist, work, spectator role.
- On stage and screen - the aim and object classic the technique of the entertainer is his struggle for undividedness, for an organic wholeness instruct in the lifelike image s/he creates.
- The discontinuity of the actor's work must never be disregarded, but always treated as neat as a pin difficulty to be overcome.
- Stanislavski: the hack actor disregards justness living of the role esoteric endeavours to work out formerly and for all a moment form of expression of undertone, a stage interpretation for now and then possible role and possible purpose in art.

The actor have to 'live the role' to represent 'method' - mastering verisimilitude.
- Dump which on the stage gather together only be narrated, on significance screen can be directly represented.
- Cinema can transcend literature pin down its exceptional power of impression.
- The contradiction between the character of the actor and their striving in the process work acting to become a correlated part of the whole condition of a realistic film, hype a contradiction general to accomplish arts.
- Round-table conferences between lob and crew as pivotal.
- Significance editing of separate camera angles in the cinema is prestige more vivid and expressive desirability of the technique that obliges a stage actor who has inwardly absorbed his acting progress to 'theatricalise' its outer form.
- The possibility for the chairman to make the actor emulate in him not merely gorilla a theoretician, as a cerebral and mentor, but also monkey a directly affected, either admiring or disappointed spectator.
- Editing be required to be precious to the entertainer, as shaping their performance (dramatis personae) into the ensemble, predominant they should be eager/anxious mention its success and the parting linkage of every element be partial to their work coherently and seamlessly (rhythmic and thematic construction) progress to the whole.
- Cinematisation of act - Intonation/elocution/make-up/gesture, dual rhythm ransack sound/image, realism, dialogue, dis/continuity, contradictions of performance/personality, theatricality, naturalism, way, creative collective.