Vsevolod Pudovkin (1893-1953) was one of the leading Soviet film directors in the ‘golden age’ of silent cinema in the 1920s. His films - especially The Mother, The End of St Petersburg and Storm over Asia - are classics of silent cinema.
Like Eisenstein, Pudovkin was also a major theorist of film. This new translation of Pudovkin´s seminal writings brings together his most important essays from his two key books, Film Technique and Film Acting. The essays highlight the development of Pudovkin´s revolutionary thinking on scripts, directing, time, sound, and acting.
Table of Contents
PROVISIONAL CONTENTS * Richard Taylor: Introduction: Pudovkin Revisited
* Our Working Methods in ‘The Death Ray’ [1924]
* Photogeny [1925]
* Montage [1925]
* The Montage of a Scientific Film [1925]
* ‘The Mechanics of the Human Brain’ [1926]
* On ‘The Battleship Potemkin’ [1926]
* The Mother. A Conversation with the Director, Pudovkin [1926]
* The Mother. A Conversation with the Director, Vsevolod Pudovkin [1926]
* The New Film. From a Conversation with the Director, Pudovkin [1926]
* The Film Script (The Theory of the Script) [1926]
* The Film Director and Film Material [1926]
* ‘Petersburg - Petrograd - Leningrad.’ A Conversation with Vsevolod Pudovkin [1927]
* ‘The End of St Petersburg.’ A Conversation [1927]
* How We Made ‘The End of St Petersburg’ [1927/8]
* S. M. Eisenstein (From ‘Potemkin’ to October) [1928]
* Statement on Sound [1928]
* ‘The Descendant of Genghis-Khan.’ A Conversation with the Director, Vsevolod Pudovkin [1928]
* ‘The Descendant of Genghis-Khan.’ From a Conversation with the Director, Vsevolod Pudovkin [1928]
* How I Work with Tolstoy [1928]
* On Montage Rhythm [1928/9]
* The ‘Naturshchik’ instead of the Actor [1929]
* On the Principle of Sound in Film [1929]
* Conversation on Sound Film [1929]
* Our Picture [1929]
* On the Language of the Script. A Conversation [1929]
* Time in Close-Up [1931]
* Sound and Image [1932]
* The Role of Sound Cinema [1933]
* Asynchronism as a Principle of Sound Film [1934]
* The Problem of Rhythm in My First Sound Film [1934]
* The Actor in Film [1933/4]
* Our Working Methods in ‘The Death Ray’ [1924]
* Photogeny [1925]
* Montage [1925]
* The Montage of a Scientific Film [1925]
* ‘The Mechanics of the Human Brain’ [1926]
* On ‘The Battleship Potemkin’ [1926]
* The Mother. A Conversation with the Director, Pudovkin [1926]
* The Mother. A Conversation with the Director, Vsevolod Pudovkin [1926]
* The New Film. From a Conversation with the Director, Pudovkin [1926]
* The Film Script (The Theory of the Script) [1926]
* The Film Director and Film Material [1926]
* ‘Petersburg - Petrograd - Leningrad.’ A Conversation with Vsevolod Pudovkin [1927]
* ‘The End of St Petersburg.’ A Conversation [1927]
* How We Made ‘The End of St Petersburg’ [1927/8]
* S. M. Eisenstein (From ‘Potemkin’ to October) [1928]
* Statement on Sound [1928]
* ‘The Descendant of Genghis-Khan.’ A Conversation with the Director, Vsevolod Pudovkin [1928]
* ‘The Descendant of Genghis-Khan.’ From a Conversation with the Director, Vsevolod Pudovkin [1928]
* How I Work with Tolstoy [1928]
* On Montage Rhythm [1928/9]
* The ‘Naturshchik’ instead of the Actor [1929]
* On the Principle of Sound in Film [1929]
* Conversation on Sound Film [1929]
* Our Picture [1929]
* On the Language of the Script. A Conversation [1929]
* Time in Close-Up [1931]
* Sound and Image [1932]
* The Role of Sound Cinema [1933]
* Asynchronism as a Principle of Sound Film [1934]
* The Problem of Rhythm in My First Sound Film [1934]
* The Actor in Film [1933/4]