Erscheinungsdatum: 15.03.2007, Medium: Taschenbuch, Einband: Kartoniert / Broschiert, Titel: Film Technique and Film Acting - The Cinema Writings of V.I. Pudovkin, Autor: Pudovkin, V. I., Verlag: Sims Press, Sprache: Englisch, Rubrik: Belletristik // Romane, Erzählungen, Seiten: 380, Informationen: Paperback, Gewicht: 483 gr, Verkäufer: averdo
Film Technique and Film Acting - The Cinema Writings of V.I. Pudovkin ab 43.49 € als Taschenbuch: . Aus dem Bereich: Bücher, English, International, Gebundene Ausgaben,
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Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Valéry Inkijinoff was a French actor of a Russian-Buryat origin. His strong facial features made him a favourite villain of French cinema for exotic adventure films and crime movies. Inkijinoff was born to a Christian Buryat family of a teacher in Irkutsk gubernia. He studied at the Polytechnical Institute of Saint Petersburg and was for a time one of the resident actors of an imperial theater of this city. At the beginning of his career in Russia, he appeared first as stuntman in a few movies and then as director and as actor. His major lead role during the Russian part of his career is The Son in Storm Over Asia by Vsevolod Pudovkin in 1928, a major historic movie about civil war in Mongolia.
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Vsevolod Illarionovich Pudovkin (Russian: ) (16 February 1893 20 June 1953) was a Russian film director, screenwriter and actor who developed influential theories of montage. Pudovkin''s masterpieces are often contrasted with those of his contemporary Sergei Eisenstein, but whereas Eisenstein utilized montage to glorify the power of the masses, Pudovkin preferred to concentrate on the courage and resilience of individuals. A student of engineering at Moscow University, Pudovkin saw active duty during World War I, being captured by the Germans. After the war, he abandoned his professional activity and joined the world of cinema, first as a screenwriter, actor and art director, and then as an assistant director to Lev Kuleshov.
Eisenstein, Pudovkin, Dovzhenko, Vertov: these Soviet film directors are acknowledged to be among the greatest in the history of cinematography. To Eisenstein we owe such films as Battleship Potemkin and October; to Pudovkin Mother and The End of St Petersburg; to Dovzhenko Earth and Zvenigora; and to Vertov The Man With a Movie Camera and The Three Songs of Lenin. Herbert Marshall knew each of them personally, both as artists and as friends, and shared their cinema world when he was a student at the GIK (The Moscow State Institute of Cinematography) in the heady years following the Revolution into the period of the first Five Year Plan. His material is culled from personal recollections, diaries, notes, unpublished and published biographies, letters, press cuttings, articles and books in various languages, but mainly from Soviet sources and the Soviet cinema world. Taking the subjects one by one, this indispensible book discusses their major films including an account of their creation and reception in the USSR and abroad. It shows the tragedy of these four Soviet artists who were lucky enough not to be arrested or deprived of their limited freedom, yet who nevertheless ended up with &#8216;crippled creative biographies&#8217;. The author then examines the changed viewpointin the climate of 1983 when the book was originally published.
Leon Moussinac, surveying the Soviet cinema scene in 1928, proclaimed Pudovkin, Eisenstein, and Vertov as its leading triumvirate. Yet there has been too little published on Pudovkin's significant work in Soviet cinema. Amy Sargeant's welcome book on Pudovkin assesses his career and his films, including the well-known features 'The Mother' and 'The End of St. Petersburg,' exploring their style and the circumstances surrounding their production. She also looks at the production and reception of his writings on film technique and performance, both inside the Soviet Union and in the West.