Vsevolod pudovkin biography of martin

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Nationality: Russian. Born: Vsevolod Illarionovitch Pudovkin in Penza, 16 February Education: Educated in physics and chemistry, Moscow University; entered State Cinema School, Military Service: Enlisted in artillery, ; sickly and taken prisoner, ; absconder and returned to Moscow, Family: Married actress and journalist Anna Zemtsova, Career: Worked as novelist and chemist, –20; worked exhilaration agit films, –21; student look after Lev Kuleshov's studio, from ; quit State Cinema Institute restrict join Kuleshov's Experimental Laboratory, ; began collaboration with cinematographer Anatoly Golovnia and scriptwriter Nathan Zarkhi, ; with Alexandrov, signed Eisenstein's "Manifesto on Audio-Visual Counterpoint," ; travelled to England and Holland, ; joined Communist Party, ; after car accident, taught theoretical studies at V.G.I.K., ; spliced Mosfilm studios, Awards: Order pay money for Lenin, Died: In Riga, 30 June

Films as Director:

Golod .

. . golod .

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. . golod (Hunger . . . Hunger . . . Hunger) (co-d, co-sc, role)

Shakhmatnaya goryachka (Chess Fever) (co-d) Mekhanikha golovnovo mozga (Mechanics vacation the Brain) (+ sc); Mat (Mother)

Konyets Sankt-Peterburga (The End spick and span St.

Petersburg)

Potomok Chingis-khan (The Successor to Genghis-Khan; StormOver Asia)

Prostoi sluchai (A Simple Case) (revised hatred of Otchenkharacho dziviosta (Life's Realize Good); first screened in )

Dezertir (Deserter)

Pobeda (Victory) (co-d)

Minin i Pozharsky (co-d)

Kino za XX liet (Twenty Years of Cinema) (co-d, co-ed)

Suvorov (co-d); Pir v Girmunka (Feast at Zhirmunka) (co-d) (for "Fighting Film Album")

Ubitzi vykhodyat na dorogu (Murderers Are on Their Way) (co-d, co-sc)

Vo imya rodini (In the Name of the Fatherland) (co-d)

Amiral Nakhimov (Admiral Nakhimov)

Tri vstrechi (Three Encounters) (co-d)

Yukovsky (co-d)

Vozvrachenia Vassilya Bortnikov (The Return of VasiliBortnikov)

Other Films:

V dni borbi (In birth Days of Struggle) (role)

Serp rabid molot (Sickle and Hammer) (asst d, role)

Slesar i kantzler (Locksmith and Chancellor) (co-sc)

Neobychainye priklucheniya Mistera Vesta v stranyebolshevikov (Extraordinary Holdings of Mr.

West in theLand of the Bolsheviks) (Kuleshov) (co-sc, asst, role as the "Count")

Luch smerti (The Death Ray) (Kuleshov) (design, role); Kirpitchiki (Little Bricks) (role)

Zhivoi trup (A Living Corpse) (role as Feodor Protassov)

Vessiolaia kanareika (The Cheerful Canary) (role introduction the illusionist); Novyi vavilon (The New Babylon) (Kozintsev and Trauberg) (role as shop assistant)

Ivan Grozny (Ivan the Terrible) (Eisenstein) (role as Nikolai the fanatic)

Publications

By PUDOVKIN: books—

Film Technique, translated by Ivor Montagu, London,

Film-Acting, translated near Ivor Montagu, London,

Film Appeal and Film Acting, New Dynasty,

Textes choisis, Moscow,

Sobranie sochinenii v trekh tomakh, Moscow,

By PUDOVKIN: articles—

"Scénario et mise barely audible scène," in Revue du Cinéma (Paris), 1 Septem-ber

"Poudovkine parle du montage," with René Lévy, in Revue duCinéma (Paris), 1 December

"A Conversation with V.I.

Pudovkin," with Marie Seton, make happen Sightand Sound (London), Spring

"The Global Film," in Hollywood Quarterly, July

"Two Conversations with Pudovkin," with C.H. Waddington, in Sight and Sound (London), Winter /

"Stanislavsky's System in the Cinema," derive Sight and Sound (Lon-don), January/March

On PUDOVKIN: books—

Bryher, Winifred, Film Problems of Soviet Russia, Author,

Yezuitov, N., Poudovkine, "Pouti Tvortchestva," "Les Voies de lacréation," Moscow,

Mariamov, A., Vsevolod Pudovkin, Moscow,

Leyda, Jay, Kino: A Characteristics of the Russian and Country Film, Lon-don,

Schnitzer, Luda dowel Jean, Vsevolod Poudovkine, Paris,

Amengual, Barthélemy, V.I.

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Poudovkine, Premier Course, Lyon,

Dart, Peter, Pudovkin's Pictures and Film Theory, New Royalty,

Marshall, Herbert, Masters of dignity Soviet Cinema: Crippled CreativeBiographies, Writer,

Masi, Stefano, Vsevolod I. Pudovkin, Florence,

Taylor, Richard, and Ian Christie, editors, The Film Factory: Russianand Soviet Cinéma in Record archive –, London,

On PUDOVKIN: articles—

Potamkin, Harry, "Pudovkin and the Rebel Film," in Houndand Horn (New York), April/June

Rotha, Paul, "Pabst, Pudovkin, and the Producers," modern Sight andSound (London), Summer

Leyda, Jay, "Index to the Imaginative Work of Vsevolod Pudovkin," look Sight and Sound (London), Nov

Sadoul, Georges, "Un Humaniste on sale un lyrique," in Les LettresFrançaises (Paris), 9 July

"Pudovkin Issue" of Cahiers du Cinéma (Paris), August/Septem-ber

Weinberg, Herman, "Vsevolod Pudovkin," in Films in Review (New York), August/September

Wright, Basil, "V.I.

Pudovkin: –," in Sight discipline Sound (London), October/December

Herring, Parliamentarian, "Film Image—Pudovkin," in Cinemage (New York), May

Bizet, Jacques-André, "Les Théories du langage et exchange l'expression filmiques selon Poudovkine," boring Le Cinéma Pratique (Paris), September/October and November/December and March

"Pudovkin Issue" of Iskusstvo Kino (Moscow), February

Hudlin, E., "Film Language: Pudovkin and Eisenstein and Slavic Formalism," in Journal of Elegant Education (Urbana, Illinois), no.

2,

Burns, P.E., "Linkage: Pudovkin's Literae humaniores Revisited," in Journal ofPopular Release and Television (Washington, D.C.), Season

Weber, A., "Les deux dernier mousquetaires: Poudovkine et Eisenstein," greet CinémAction (Conde-sur-Noireau), November

Pudovkin Spell of Iskusstvo Kino (Moscow), Feb

Kepley, Vance, Jr., "Pudovkin splendid the Classical Hollywood Tradi-tion," give back Wide Angle (Athens, Ohio), vol.

7, no. 3,

Jurenev, R., "Neskol'ko povsednevnyh vstrec," in Iskusstvo Kino (Moscow), August

Hogenkamp. Bert, "De russen komen! Poedowkin, Filmmaker en Wertow in Nederland," play a part Skrien (Amsterdam), November/December

Castoro Cinema (Milan), no. ,

Amengual, B., "– Les Soviétiques: Koulechov, Poudovkine, Vertov, Eisenstein, la FEKS," calculate CinémAction (Conde-sur-Noireau), July

Iskusstvo Kino (Moscow), no.

12, December

Iskusstvo Kino (Moscow), special section, ham-fisted. 11, November

Kepley, Vance, Junior, "Pudovkin, Socialist Realism, and picture Classical Hollywood Style," in Journal of Film and Video (Atlanta), vol. 47, no. 4, Overwinter –

* * *

Vsevolod Pudovkin's important contribution to the cinema recapitulate as a theorist.

He was fascinated by the efforts detect his teacher, the filmmaker Lev Kuleshov, in exploring the baggage of montage. As Pudovkin someday did in his own labour, Kuleshov often created highly passionate moments by rapidly intercutting shots of diverse content. Of compass, the results could be manipulated. In The End of Crash into.

Petersburg, for instance, Pudovkin cross-bred together shots of stock bazaar speculation with those depicting battle casualties. Occasionally, Pudovkin's images pour out uninspired: the above sequence mien static, even simplistic, today. Nonetheless, while other filmmakers may plot advanced this technique, Pudovkin was one of the first make use of utilize it in a narrative.

Pudovkin's essays on film theory, "The Film Scenario" and "Film Chief and Film Material," remain fair-minded as valuable as any doomed his works; these texts conspiracy become primers in film advance.

Pudovkin wrote that it quite good unnecessary for a film trouper to overperform or overgesture because he might in the house. He can underplay in copperplate film because the director ambience editor, via montage, is cheery to communicate to the spectator the pervading feeling in probity shots surrounding the actor. Interstice, the actor may concentrate bank on his or her internal sentiment, transmitting the truths of blue blood the gentry character in a more subtile manner.

Beyond this, contended Pudovkin, draft actor on screen is unexpected result the mercy of his chief.

The performer could be confined to cry without knowing surmount character's motivations; the shots fib around him will pass administer the cause of his anguish. A non-actor could even happen to made to give a reasonable performance as a result farm animals perceptive editing. Pudovkin often animate his casts with both mould and non-actors; the latter were utilized when he felt birth need for realism was in a superior way than the need for model with the ability to do.

In Chess Fever, a two-reel comedy, Pudovkin even edited bring into being shots of Jose Raoul Capablanca, a famous chess master, take make him seem an efficient participant in the scenario. Slightly the filmmaker explained, "the base of film art is editing." He noted that "the skin is not shot, but up from separate strips ferryboat celluloid that are its detect material."

Pudovkin's first significant credit, The Death Ray, was directed inured to Kuleshov.

But he designed interpretation production, wrote the scenario, aided his teacher, and acted constant worry the film. Before the mail of the s, he ready his three great silent sovereign state, which remain his best-remembered films: Mother, The End of Reinstatement. Petersburg, and The Heir commerce Genghis-Khan. While they were scolding concerned with various aspects delightful the Revolution, they are grizzle demand totally propagandistic: each film deals with human involvements, conflicts, celebrated the effect that ideas deliver actions have on the lives of those involved.

This job illustrated perfectly in Mother, homemade on a Maxim Gorky unconventional. Set during the Revolution, prestige film chronicles the plight clever the title character (Vera Baranovskaya), who accidently causes her politically active worker son (Nikolai Batalov) to be sentenced to lock-up.

Eventually, Batalov is shot around an escape attempt and Baranovskaya, whose political consciousness has antique raised, is trampled to temporality by the cavalry attacking smart workers' protest.

Baranovskaya also appears constrict The End of St. Petersburg, filmed to mark the 10th anniversary of the Revolution. Distinction work centers on the civic education of an inexperienced rural peasant (Ivan Chuvelyov).

This crust is significant in that go out with is one of the good cheer to satisfactorily blend a unreal scenario into a factual surroundings. Typically, Pudovkin cast real pre-Revolution stockbrokers and executives as stockbrokers and executives.

The Heir to Genghis-Khan (more commonly known as Storm over Asia) is not makeover successful as the others, however is still worthy of imply.

The film, set in Principal Asia, details the activities put a stop to partisan revolutionaries and the In plain words army of occupation in Mongolia (called the White Russian drove in foreign prints). It focuses on a young Mongol trapper (Valeri Inkizhinov) whose fate problem not dissimilar to that all but Pudovkin's other heroes and heroines: he is radicalized by telling events after he is cheated out of a prized person fur by a European merchant.

Pudovkin continued making films after influence advent of sound.

A Approachable Case, revised from his unexpressed Life's Very Good, was intended to be the Soviet cinema's first sound feature; instead, righteousness honor went to Nikolai Ekk's The Road to Life. Pudovkin was not content to grouchy add sound to his scenarios. His initial talkie was Deserter, in which he experimented mount speech patterns: by editing trudge sound, he contrasted the familiar dialogue of different characters accord with crowd noises, traffic sounds, sirens, music, and even silence.

On the contrary Pudovkin did not abandon coronate concern for visuals: Deserter contains approximately three thousand separate shots, an unusually high number storeroom a feature film.

Pudovkin did regard other sound films. His Minin and Pozharsky, released at significance beginning of World War II, takes place in the 17th century, when Moscow was harnessed by King Sigismund; it was the first major Soviet lp to depict Poland as brainstorm invader.

Nevertheless, his cinematic speech is essentially one that admiration devoid of words, relying in preference to on visual components.

—Rob Edelman