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|
vii | |
Acknowledgements |
|
ix | |
Note on Transliteration and Terminology |
|
xi | |
Introduction: Pudovkin Revisited Richard Taylor |
|
xiii | |
|
Our Working Methods in The Death Ray [1924] |
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|
1 | (3) |
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|
4 | (10) |
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|
14 | (1) |
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The Montage of a Scientific Film [1925] |
|
|
15 | (4) |
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The Mechanics of the Human Brain [1926] |
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|
19 | (3) |
|
On The Battleship Potemkin [1926] |
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22 | (2) |
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The Mother. A Conversation with the Director, Pudovkin [1926] |
|
|
24 | (4) |
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The Mother. A Conversation with the Director, Vsevolod Pudovkin [1926] |
|
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28 | (3) |
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The New Film. From a Conversation with the Director, Pudovkin [1926] |
|
|
31 | (1) |
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The Film Script (The Theory of the Script) [1926] |
|
|
32 | (33) |
|
The Film Director and Film Material [1926] |
|
|
65 | (55) |
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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) |
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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) |
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On Montage Rhythm [1928/9] |
|
|
154 | (4) |
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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) |
|
|
175 | (4) |
|
On the Language of the Script. A Conversation [1929] |
|
|
179 | (6) |
|
|
185 | (7) |
|
|
192 | (2) |
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The Role of Sound Cinema [1933] |
|
|
194 | (5) |
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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 | |