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1919–1953. Vsevolod Illarionovich Pudovkin ( bahasa Rusia: Всеволод Илларионович Пудовкин; IPA: [ˈfsʲevələt ɪlərʲɪˈonəvʲɪt͡ɕ pʊˈdofkʲɪn]; 16 Februari 1893 – 30 Juni 1953) [1] [2] adalah seorang sutradara, penulis naskah dan pemeran Rusia dan Uni Soviet yang mengembangkan teori-teori montase ...
Vsevolod Illarionovitš Pudovkin ( ven. Всеволод Илларионович Пудовкин, 28. helmikuuta ( J: 16. helmikuuta) 1893 Penza, Venäjä – 30. kesäkuuta 1953 Riika, Latvian SNT) oli neuvostoliittolainen elokuvaohjaaja, joka uudisti elokuvan kertomistapaa. Pudovkin oli aikansa huomattavia mykkäelokuvien tekijöitä Sergei ...
Vsevolod Illarionovich Pudovkin ഫെബ്രുവരി 16, 1893. Penza, Russian Empire (now Russia) ...
Vsevolod Illarionovich Pudovkin was a Russian and Soviet film director, screenwriter and actor who developed influential theories of montage. Pudovkin's masterpieces are often contrasted with those of his contemporary Sergei Eisenstein, but whereas Eisenstein utilized montage to glorify the power of the masses, Pudovkin preferred to concentrate on the courage and resilience of individuals.
Vsevolod Illarionovich Pudovkin was a Russian and Soviet film director, screenwriter and actor who developed influential theories of montage. Pudovkin's masterpieces are often contrasted with those of his contemporary Sergei Eisenstein, but whereas Eisenstein utilized montage to glorify the power of the masses, Pudovkin preferred to concentrate on the courage and resilience of individuals.
Vsevolod Pudovkin's major contribution to the cinema is as a theorist. He was fascinated by the efforts of his teacher, the filmmaker Lev Kuleshov, in exploring the effects of montage. As Pudovkin eventually did in his own work, Kuleshov often created highly emotional moments by rapidly intercutting shots of diverse content.
Vsevolod Pudovkin was a Soviet film director, screenwriter, and actor who is widely regarded as one of the pioneers of modern cinema. Along with Sergei Eisenstein, Pudovkin helped to establish the principles of montage editing and developed a theory of film acting that emphasised the importance of naturalistic performance and psychological realism.
