Brief introduction and detailed information of pudovkin

Personal Experience1893 On February 28th, pudovkin was born in Penza.

1920, pudovkin entered the First Film Academy of the Soviet Union.

1922 transferred to Kuleshov "experimental studio" to study, assisted Kuleshov in the exploration and experiment of film language, and participated in the filming of Mr. West's Extraordinary Adventures in Bolshevik Countries (1924) and Dead Light (1925). Due to different views, pudovkin left Kuleshov Studio to be the director of the Russian International Workers' Relief Committee Film Company.

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In the 1920s, while he was creating movies, he also founded montage film theory with Sergei Eisenstein. During this period, pudovkin published important works on film theory, such as film directors and film materials, on film writers, directors and actors, and film scripts, which made outstanding contributions to the development of film aesthetics at that time.

From 65438 to 0926, he participated in the filming of Mother, which gave full play to pudovkin's realistic aesthetics. He and the screenwriter нааааааааааааааааааааа.

1958, this film was selected as the best film in Brussels International Film Festival 12.

1927, the following two films: The End of St. Petersburg and the Descendants of Genghis Khan.

1929 is the Asian Storm abroad, which continues to develop the aesthetic principles discovered by pudovkin in Mother. It is characterized by rich means of expression, clear purpose, rigorous style, concise technique, cadence and special attention to performance, thus establishing the organic connection between stanislavski's performance system and screen image-building. These two films are excellent films of the Soviet Union in the 1920s. These works established pudovkin's directing style and position in the world film industry.

1932, he made an audio film "Ordinary Events" (also known as "Life is Good"), which was not successful, but in the film "Deserted Soldiers" (1933), he realized the counterpoint between sound and picture.

From 65438 to 0939, he made a series of historical films, such as Minen and Pozharski.

194 1 shooting marshal suvorov, 1947 shooting admiral nakimov and so on. In these films, he mobilized all means to create distinctive characters. At the Venice International Film Festival from 65438 to 0947, the actors Gigi and KenyaJeff in Admiral Nakimov won performance awards. The film also won the photography award of 1947 Locarno International Film Festival.

1953, his last work was The Return of Vasily Batnikov, which was adapted from the novel Harvest.

Personal living expenses Shevolod Hilari Onovich pudovkin He studied in the Department of Physical Mathematics of Moscow University and worked as a technician. Pudovkin, a comprehensive artist, worked as an actor, recorded plays, set up scenes, wrote plays and edited films before he became a film director.

Except for the director, Pudov King never stopped performing all his life. He played the military police officer in Mother, with narrow shoulders, hunchback and ruthlessness. Later, his roles in Promethean (1929), Russian (1943) and The Last Fool in Ivan the Terrible were not only outstanding in external characteristics, but also profound in internal strength.

Pudovkin was also the earliest film theorist and critic in the Soviet Union. He studied a wide range of issues, including film characteristics, film montage, film performance, film sound and so on. Among them, the film performance theory occupies a central position.

Main work 1926: Mother (screenwriter: Zalhei, adapted from Gorky's original novel, photography: Gerovnia, main actors: Balanovskaya and Batalov).

1927: the end of St. Petersburg (screenwriter: Zalhei, photography: Gellov, main actors: Chuweilov, Balanovskaya)

1928: descendants of Genghis Khan (screenwriter: Brick, photographer: Gellov, main actor: Ingishnov).

1929: As an actor in Berlin, he played a Promethean (based on Tolstoy's original work and directed by Ozp).

1932: Common event.

1933: deserter. 1938: Victory (written by Zalhei).

1939: Minen and Bo Zalsky (in cooperation with Doril).

1940: Twenty years of Soviet films (co-produced with Schuber).

194 1 year: Grand Marshal suvorov (co-produced with dorrell).

1945: Admiral Nakimov (photo: Gerloff, Virginia and Lowa, screenwriter: Bukhov Ski, main actors: Gigi, pudovkin)

1950: Zukowski, the father of Aeroflot.

1953: The Return of Vasily Poulter Nico (based on C. nikolayeva's novel Harvest).

Creative features 1. Pudovkin emphasized the important role of script creation. He once pointed out: "Some people think that a screenwriter only needs to write a general and simple plot outline. As for the details, all the work in film form should be done by the director. This view is very wrong. Don't forget that any artistic creation process can't be divided into independent stages. " This view is obviously different from Eisenstein's, as sadoul further analyzed: "Mother and The End of St. Petersburg are extremely detailed works written by pudovkin and Zalehei; The development of the plot has been carefully considered, which is in sharp contrast with Eisenstein's silent films (except for the battleship potemkin) because of their loose plot and lack of coherence. Pudovkin established a narrative mode for his films in the screenplay, namely: "The whole screenplay is divided into several parts, each part is divided into several paragraphs, and each paragraph is divided into several scenes. Finally, each scene consists of a series of shots taken from different angles. In fact, there is no essential difference between this and Griffith's narrative form, which belongs to the traditional form of reappearance aesthetics. The difference is that pudovkin, driven by constructivism, is more persistent in creation and expression. In the stage of script creation, he made clear the montage structure forms of the film, such as scene montage, paragraph montage and alignment montage. This structural form should be thought and organized strictly according to the story.

2. pudovkin pays attention to the basic role of actor work, and his films generally rely on excellent actors to play the characters in the play. For example, Nello Wuna, who plays mother, and Batalov, who plays Barville, etc. Under the guidance of stanislavski's empirical theory, these famous dramatists pay attention to the emotional and psychological analysis of characters. This is very appropriate in pudovkin's view. He once said: "The stanislavski School is the closest to a film actor. This school especially emphasizes the initial process of an actor's profound grasp of the image, even at the expense of the theatrical nature of image processing. Stanislavski's actors strive to be kind and delicate, and sometimes even make the stage performance full of many details that are not easy to see clearly, which makes the performance lose its dramatic brilliance, but this kind of delicate and kind performance can get necessary and significant development in the film. " From the standpoint of montage theory, pudovkin also put forward the theories of "the discontinuity of film actor's work" and "montage image". He relies on the actors' performance in film creation and emphasizes the performance nature of actors in films, which makes pudovkin and Kuleshov's theory of "film mode" obviously different from Eisenstein's concept of "type actors".

3. pudovkin, like Eisenstein and Wiltoff, regards montage as the basis of film art creation. In a general sense, he defines montage as: montage is a process of revealing the internal relations in real life and a dialectical thinking. Based on this kind of thinking, he also created the formal skills of film language such as "associative montage", which made his films poetic and lyrical. "Associative montage" is the juxtaposition of images that have no material connection but are closely related to the theme, which is similar to the metaphor of poetry, but its effect is much stronger than that of poetry. In Mother, mother and Barville use the form of "associative montage" around the gun placed under the floor, which effectively shows the instant psychological state of the characters.

But this technique can only be used in some parts of the film, and it can't be used to unify all the shots. Pudovkin often inserted these poetic "associative montages" into his similar melodrama films, and achieved ideal results. From this, we can see that pudovkin enriched and developed the traditional film form with the means and skills of film expression of constructivism. The method of "associative montage" is very important and expressive, so more people use this method later, and people still use it until now.

Creative Idea pudovkin's thought has a great influence on the development of movies, especially his theory emphasizes the narrative of movies, which supports the melodrama mode of the Soviet Union and the United States in the 1930s and 1940s to some extent. Therefore, there has been a great controversy about his thought in history, especially with Eisenstein. Eisenstein pointed out: "pudovkin's idea is that montage is just a combination of shots. In order to clarify a theme, a sequence is arranged one after another. I think montage is a kind of conflict, a conflict between two elements, and a concept put forward by generate. I think the R combination is just a possibility, a special case. "

The purpose of pudovkin's "shot-splitting" is to highlight the importance of details, reproduce plots and events through decomposition and combination, and make montage a continuation of plot fragments; Strengthen the narrative power of movies.

In Eisenstein's view, pudovkin's idea is to bring montage, a new film modeling method, into the traditional category of reproduction aesthetics, which is a retrogression on the road of modernism aesthetics.

Pudovkin's creative path was also regarded by avant-garde artists in the1920s as a continuation of the narrative structure of Griffith's films.

Compared with Eisenstein

The difference between Eisenstein (1898~ 1948) and pudovkin Eisenstein's early period lies in their emphasis on conflict, such as "juggling" and "intellectual montage"; Pudovkin emphasized the role of contact.

Eisenstein believes that conflict is the feature of montage, and new representations and concepts are produced after conflict. Pudovkin emphasized consistency. He believes that montage is a scene composed of multiple shots, a paragraph composed of multiple scenes, and a part composed of multiple paragraphs. There is a clear connection between these fragments. People don't feel interrupted and get an unintentional * * *.

Eisenstein's theoretical achievements: He began to publish papers in the early 1920s, and then made in-depth exploration and research on montage film theory during his teaching in the Soviet National Film School, which made great contributions to the formation of a relatively complete montage theory.

As for "juggling montage", as mentioned above, "juggling montage" was first put forward by Eisenstein when he was engaged in drama creation, but the practice of this theory was embodied in his film creation. He once said in the article "Montage of Variety": "Variety is the moment of every special character in the drama, that is, the factors that can prompt the audience to influence their sensory or psychological feelings, that is, they can guarantee and accurately predict every factor that will cause some emotional shock if arranged in an appropriate order as a whole, and they are the only means that can be used to express the final ideological conclusion." He further pointed out that "it is not a static' reflection' of an event, and it does not make all the possibilities of activities within the limits of the logical expression of this event, but jumps to a new stage: freely forming a montage of any choice (within the scope of the established structure and the theme link connecting the effective expression), that is, everything is synthesized from the standpoint of some ultimate theme effect, that is," In his film creation, Eisenstein believes that movies can attract. He believes that there is no need to have a complete literary script as the basis, and he also denies the performance of professional actors. He used the theory of "juggling montage" in his creation, but in fact only "Battleship potemkin" was successful, and all other works failed to varying degrees.

The classic passage of Odessa Steps Massacre fully shows the exquisite skills of young Soviet film directors. Eisenstein decomposes and dislocates a series of action scenes, such as the running of the common people, the approaching of the czar's army, the sliding of the stroller, and the mother holding the dead child to meet the czar's army, which forms several outstanding features of this passage: First, it highlights the theme of the film with visual rhythm modeling factors, creates the artistic conception of the film, and forms the impact of the visual senses of the film. Secondly, strengthen the visual image of the film in the form of montage visual structure and expand the spatial effect of the film. Thirdly, the repeated continuous action from multiple angles makes the time of the film abstract, which leads to the delay of the performance of the film. In this passage, Eisenstein made a unique thinking and creative expression on the concept of time and space in film narration, combining objective phenomena with subjective consciousness, fully demonstrating the vitality of objects and profoundly reflecting the internal process of various phenomena. As the end of this paragraph, the lens of three stone lions shot by photographer Keith was poetically edited by Eisenstein as a metaphor of thoughts and feelings, which was very successful here. But in the performance of this paragraph, Eisenstein's montage concept is also one-sided. Because the core of his montage theory emphasizes "conflict" and that two shots are not the sum of two numbers, but the product of two numbers, in order to achieve this goal, he did not ignore the spatial expression inside a single shot, but made the picture inside his single shot be processed into a single information plane. But "Battleship potemkin" is undoubtedly a masterpiece of silent film, leaving immortal and brilliant achievements in the world film history.

The "intellectual montage" (also called "rational film") was put forward by Eisenstein in the late 1920s. He advocates that in the film, the audience can transform a certain visual image into a rational understanding through the internal modeling arrangement of the picture. For example, the three stone lions in Battleship potemkin and the statue in Alexander III in October fell from the base. It symbolizes the collapse of tsarist autocracy; When the temporary * * * embarked on the old road of the tsarist system, the statue of Alexander III was erected back to its base (upside down) to show the counter-attack of the reactionary forces. These are typical examples of the application of "intellectual montage". Here, the lens becomes some kind of symbol or hieroglyphic, and the combination of the two produces some kind of concept, thus replacing the artistic image. Eisenstein believes that the purpose of film art is not to vividly express reality, but to express concepts. In theory, Eisenstein is used to expand the possibilities of movies as a means to understand reality. But in his creation, he is divorced from the material of real life. Eisenstein's theory exaggerates the role of montage and is rejected by film theorists and peers, even though his style is quite different from his own realistic works.

Pudovkin also regards montage as the basis of film art creation. Pudovkin founded "Associative Montage", which is full of poetic and lyrical factors. "Associative montage" juxtaposes videos with no material connection but very close theme. This technique can only be used in some parts of the film, but not to unify all the shots. Pudovkin's theory emphasizes the narrative of movies, that is, highlighting the importance of details through the lens, reproducing plots and events through the decomposition and combination of plots and events, making montage a continuation of plot fragments, thus strengthening the narrative power of movies; These theories supported the melodrama model of the Soviet Union and the United States in the 1930s and 1940s to some extent, so they were regarded by avant-garde artists in the 20th century as a continuation of the narrative structure of Griffith's films, and even regarded by Eisenstein as bringing montage, a new film modeling method, into the traditional category of reappearance aesthetics, which was a retrogression on the road of modernism aesthetics.

Pudovkin relies more on the images of natural landscapes than other contemporary directors, such as trees, rivers, mud, storms and so on. Pudovkin's unique style is fully reflected in his most important work "Mother": when the revolutionary Barville conceived the scene of the moment when he was released from prison, pudovkin switched the camera from his smiling face to the mountain stream where the snow and ice melted, and the crystal water gurgled out of the winter confinement ... pudovkin also used a series of similar cameras to express the homesickness of Barville's friends-fields, horses, farming, touching the soil with both hands ... This deviated from the narrative ontology. In order to avoid monotony and repetition, pudovkin also attaches great importance to the organic combination of expressive montage and narrative elements in his films. Before the end of the film, the marchers merged into a mighty stream of people and marched along a big river. At this point, the camera switches to the scene where neva river rushes forward with ice floes, symbolizing the overwhelming revolutionary force. The season in the film is spring, and people pass by the Neva River. Events and vehicles are in the same space, which constitutes the same objective reality and has a strong symbolic role. In the film, pudovkin alternately uses these two montage techniques and other film means, which fully embodies his realistic aesthetic view.

The main films that people evaluate pudovkin's reputation in the world are Mother (1926), The End of St. Petersburg (1927) and Descendants of Genghis Khan (1928). These three films are similar to Eisenstein's films in that they all emphasize the theme of modern history. Pudovkin once said: "In the early days of the establishment of the young Soviet state system, all of us were particularly excited to feel the broad and generalized ideas of this country." Therefore, he devoted himself to the revolutionary film art creation in both content and form; Someone once commented that he was the most thoughtful and popular realist filmmaker. The above three films created in the 1920s have many similarities in creative ideas, routes and methods. For example, they are all about the expression of the central theme of "ideology", the description of ordinary people suffering from the awakening of political consciousness, and the narrative way of the same drama clue. Pudovkin himself often talks about three films together. He once wrote in his autobiography: "Because they constitute a complete stage in my creative life memory, they also constitute my artistic interests and intentions, which are still largely preserved today."