Film Technique And Film Acting: The Cinema Writings Of V. I. Pudovkin
Condition: SECONDHAND
This is a secondhand book. The jacket image is a photograph of the exact copy we have in stock. This image shows the condition of this book. Further condition remarks are below.
Condition remarks:
Book: Good
Jacket: Chipped and worn with some minor damage
Pages: Good
Few figures in the history of cinema left as indelible a mark on both practice and theory as the Soviet master V. I. Pudovkin, and Film Technique and Film Acting stands as the definitive record of his intellectual legacy. This landmark volume gathers Pudovkin's essential cinema writings into a single authoritative collection, chronicling his revolutionary approach to montage, the craft of the actor, and the philosophical underpinnings of film as an art form — translated with precision by Ivor Montagu and introduced with scholarly authority by Lewis Jacobs. Pudovkin's prose is as kinetic and purposeful as his filmmaking, arguing with passionate clarity that cinema is not a passive recording of reality but an active, constructive art in which every cut, every gesture, and every frame is a deliberate expressive choice. His theories on editing and performance influenced generations of directors worldwide, and his ideas remain urgently relevant to anyone serious about the language of film. Whether you are a student of cinema, a working filmmaker, or a devotee of film history, this volume raises a question that Pudovkin himself never ceased to pursue: what, truly, is the power of the moving image?
Author: V. I. Pudovkin
Format: Hardback
Genre: Movies & entertainment
Condition remarks:
Book: Good
Jacket: Chipped and worn with some minor damage
Pages: Good
Few figures in the history of cinema left as indelible a mark on both practice and theory as the Soviet master V. I. Pudovkin, and Film Technique and Film Acting stands as the definitive record of his intellectual legacy. This landmark volume gathers Pudovkin's essential cinema writings into a single authoritative collection, chronicling his revolutionary approach to montage, the craft of the actor, and the philosophical underpinnings of film as an art form — translated with precision by Ivor Montagu and introduced with scholarly authority by Lewis Jacobs. Pudovkin's prose is as kinetic and purposeful as his filmmaking, arguing with passionate clarity that cinema is not a passive recording of reality but an active, constructive art in which every cut, every gesture, and every frame is a deliberate expressive choice. His theories on editing and performance influenced generations of directors worldwide, and his ideas remain urgently relevant to anyone serious about the language of film. Whether you are a student of cinema, a working filmmaker, or a devotee of film history, this volume raises a question that Pudovkin himself never ceased to pursue: what, truly, is the power of the moving image?