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.
Richard Taylor is Senior Lecturer in Politics and Russian Studies at University College, Swansea and is general editor of Eisenstein's Selected Works and co-editor of The Film Factory, Inside the Film Factory, and Eistenstein Rediscovered.
PROVISIONAL CONTENTS* Richard Taylor: Introduction: Pudovkin Revisited * Our Working Methods in 'The Death Ray' * Photogeny * Montage * The Montage of a Scientific Film * 'The Mechanics of the Human Brain' * On 'The Battleship Potemkin' * The Mother. A Conversation with the Director, Pudovkin * The Mother. A Conversation with the Director, Vsevolod Pudovkin * The New Film. From a Conversation with the Director, Pudovkin * The Film Script (The Theory of the Script) * The Film Director and Film Material * 'Petersburg - Petrograd - Leningrad.' A Conversation with Vsevolod Pudovkin * 'The End of St Petersburg.' A Conversation * How We Made 'The End of St Petersburg' [1927/8]* S. M. Eisenstein (From 'Potemkin' to October) * Statement on Sound  * 'The Descendant of Genghis-Khan.' A Conversation with the Director, Vsevolod Pudovkin * 'The Descendant of Genghis-Khan.' From a Conversation with the Director, Vsevolod Pudovkin * How I Work with Tolstoy * On Montage Rhythm [1928/9] * The 'Naturshchik' instead of the Actor  * On the Principle of Sound in Film  * Conversation on Sound Film  * Our Picture * On the Language of the Script. A Conversation * Time in Close-Up  * Sound and Image * The Role of Sound Cinema  * Asynchronism as a Principle of Sound Film  * The Problem of Rhythm in My First Sound Film * The Actor in Film [1933/4]