Vsevolod Pudovkin - Selected Essays

List of Illustrations vii Acknowledgements ix Note on Transliteration and Terminology xi Introduction: Pudovkin Revisited Richard Taylor xiii Our Working Methods in The Death Ray [1924] 1(3) Photogeny [1925] 4(10) Montage [1925] 14(1) The Montage of a Scientific Film [1925] 15(4) The Mechanics of the Human Brain [1926] 19(3) On The Battleship Potemkin [1926] 22(2) The Mother. A Conversation with the Director, Pudovkin [1926] 24(4) The Mother. A Conversation with the Director, Vsevolod Pudovkin [1926] 28(3) The New Film. From a Conversation with the Director, Pudovkin [1926 31(1) The Film Script (The Theory of the Script) [1926] 32(33) The Film Director and Film Material [1926] 65(55) Petersburg---Petrograd---Leningrad. A Conversation with V. I. Pudovkin [1927] 120(2) The End of St Petersburg. A Conversation [1927] 122(4) How We Made The End of St Petersburg [1927/8] 126(6) S. M. Eisenstein (From Potemkin to October) [1928] 132(7) Statement on Sound [1928] 139(4) The Heir to Genghis Khan. A Conversation with the Director, Vsevolod Pudovkin [1928] 143(2) The Heir to Genghis Khan. From a Conversation with the Director, Vsevolod Pudovkin [1928] 145(7) How I Work with Tolstoy [1928] 152(2) On Montage Rhythm [1928/9] 154(4) The Naturshchik instead of the Actor [1929] 158(5) On the Principle of Sound in Film [1929] 163(7) Conversation on Sound Film [1929] 170(5) Our Picture [1929] 175(4) On the Language of the Script. A Conversation [1929] 179(6) Time in Close-Up [1931] 185(7) Sound and Image [1932] 192(2) The Role of Sound Cinema [1933] 194(5) Asynchronism as a Principle of Sound Film [1934] 199(9) The Problem of Rhythm in My First Sound Film [1934] 208(7) The Actor in Film [1933/4] 215(83) Notes 298(23) Index 321