Friday, March 25, 2011

How Accurate Is Elisa Hiv Test At 30 Days

CINEMA IN RUSSIA. PART 6.


Perpetrated by Oskarele

These two directors have said, Vertov and Kuleshov, while important both for their works and their thoughts on the film, which will not raise the Russian film altars of the seventh heaven. It will be responsible for the two that we need, Eisenstein, discussed in the next article, and Pudovkin, which we are going to talk now.

Ilariónovich Vsevolod Pudovkin born in Penza in 1893. As I was studying engineering at the outbreak of the First World War could not avoid going to the front, being captured by the Germans, who were held until the end of the war, in 1918, when he returned to Russia. Feel, in a Initially, a great vocation for the theater and film and that belittles considered a minor art. This thinking will change radically when you see the Griffith film "Intolerance" then joins the group of Lev Kuleshov, The Laboratory, in 1922, where he will do everything from writing, directing, acting and editing in addition to movies. Collaborate

as in all works of Kuleshov until 1925, when it leaves the laboratory to be mounted on their own, acting and participating in " Neobychainye priklyucheniya mistero Vesta v strane bolshevikov " (The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks) in 1924 and " Smerti Luch" (The death ray), 1925.

debut as director with the documentary "Sachmatnaya goryachka (Chess Fever), 1925, on a chess tournament in Moscow, though with some clearly funny. The following year, 1926, will shoot "Mekanik golovnogo Mozg " (The mechanics of the brain), another documentary, this time from popular science, analyzing the studies conducted by Ivan Petrovich Pavlov, the dogs, which is dedicated to illustrate the conditioned reflex.



And then comes his masterpiece, " Mat (Mother) in 1926 based on the wonderful novel by Maxim Gorky, which, thanks to the impressive performance of actress Vera Baranovskaia, did something innovative, powerful and moving: the scene where the old mother, won by the ideas of his son lets himself be killed at the head of a demonstration with the red flag in hand, deserves to be cited as a model for cinematic expression and what a good actor can bring to an author who knows how to use him. This is something really upstream at a time when art directors see a dim abuse interpretations of the actors, in their efforts to move away from the theater and make movies as realistic as possible.


Pudovkin
In fact believed in the social meaning of individual characters. Part of his studies addressed the issue of interpretation (Pudovkin himself had an important career as an actor) and differences between acting in film and theater. The film, with his technique, removes the constraints that remain lifelike drama. Forced gesture and declamation, which affect the natural potential of the actor, are eliminated by the ability to approach or choose to have, like the eye, the camera lens. Thus, projected onto the screen, this allows a greater number of shades, more subtle, that give the film the realism that both eager filmmakers of the era.


These constants will last for "Sankt-Peterburg Koniets " (The End of St. Petersburg), 1927, epic reconstruction of the October Revolution of 1917, where an anonymous person is transformed by revolutionary events. Something similar to what happens to the protagonist of his next work " Potomok Chingisjana " (Storm Over Asia), 1928, which tells how a fur trader and a descendant of Genghis Khan for Mongolians rebelled against the British and colonial troops whose symbolic end, shows his penchant for metaphors.


These three books, "Mother," "The End of St. Petersburg" and "Storm Over Asia" can be (indeed are) considered as a trilogy as they are closely related in both thematic motivations as in style and message.

In 1928, with the advent of sound film, Pudovkin, Eisenstein and Alejandrov signed the Manifesto of the Sound, where the possibilities of sound are discussed, and sometimes misunderstood as a complement to the images. These ideas could be done in future movies: " Prostoj Sluchaj " (Life is Beautiful), 1932, or " Dezert " (The Deserter), 1933, a story focusing on the German shipyard workers who are oppressed by their employers both capitalist the union leaders as dishonest and conceived as a new development of supportive relationships Russian-Germans. Both works will not have the quality of his earlier works.



Like other Soviet directors, complemented by his creative activity with an important theoretical texts and production program on aesthetics and other various aspects of cinematic expression. He was interested in a special way by the mounting problem, according to the tendency of the Soviet school of the twenties as it is considered one of the more specific elements of film language. Also concerned about the art of interpretation, because of their direct experience as an actor in several movies. Among the main tests of Pudovkin include "The director and the film material" (1926), "The set" (1926) and "The actor in the film" (1934).

With a break due to health problems (for because of a serious car accident), Pudovkin returned to the cinema in 1938 with a series of historical pieces that were not as successful as their previous work, "Pobeda" (Victory), 1938, which marks the twentieth anniversary of the Russian Revolution, "Minin and Pozharsky" 1939 and "Suvorov" (General Suvorov), 1941.

With the end of World War II, under the criticism of the party, return to the themes of his early films. His last work was "Vozvraschenie Vasily Bortnikov (The Return of Vasili Bortnikov), 1952.

He died in 1953.


More info here on Whiskypedia , here , here, and here .

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