Pudovkin's Precept, Part 3: Bringing Movies to Kant's 'Transcendental Unity of Apperception'

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dc.contributor.authorCameron, Evan Wm.
dc.date.accessioned2020-07-09T14:05:34Z
dc.date.available2020-07-09T14:05:34Z
dc.date.issued1987
dc.description.abstractIn 1926, Vsevolod Pudovkin, a not-so-young Russian of thirty-two making his first movie of feature length, articulated within a brief manual for filmmakers how to solve the fundamental problem of film design by describing how to select and order the parts of a movie (its shots, scenes and sequences) to ensure that viewers can perceive coherently and with least effort the events that they encounter by means of them. How did he do it? How, indeed, could anyone have done it, much less an inexperienced filmmaker, accomplishing a feat of a kind unprecedented within commentaries by others upon any other art? To answer those questions is to comprehend not only the rudiments of how filmmakers make movies but the distinctive nature of the art of filmmaking itself. Within the lectures on 'Pudovkin's Precept . . .' available within the Evan Wm. Cameron Collection, I address those questions in order and with increasing refinement, unpacking in Part 3 how Pudovkin was able to do what he did only by unwittingly bringing Kant's transcendental constraint of apperceptive unity to bear upon the making of movies, confirming that respect for the constraints of the self-conscious perceptual integrity of observers is the primal precondition of achievement within every art.en_US
dc.identifier.urihttps://hdl.handle.net/10315/37608
dc.language.isoenen_US
dc.rightsAttribution-NonCommercial-NoDerivs 2.5 Canada*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/2.5/ca/*
dc.subjectAestheticsen_US
dc.subjectApperceptionen_US
dc.subjectALEXANDER NEVSKYen_US
dc.subjectCameron, Evanen_US
dc.subjectCinematographyen_US
dc.subjectDirectingen_US
dc.subjectDovzhenko, Alexanderen_US
dc.subjectEditingen_US
dc.subjectEisenstein, Sergeien_US
dc.subjectFilmmakingen_US
dc.subjectFilmmaking, Russian and Sovieten_US
dc.subjectIVAN THE TERRIBLEen_US
dc.subjectKant, Immanuelen_US
dc.subjectKuleshov, Leven_US
dc.subjectLeyda, Jayen_US
dc.subjectMacIntyre, Alasdairen_US
dc.subjectMarshall, Herberten_US
dc.subjectMontagu, Ivoren_US
dc.subjectNaturalismen_US
dc.subjectPhilosophyen_US
dc.subjectPhilosophy, History ofen_US
dc.subjectPudovkin, Vsevoloden_US
dc.subjectSadoul, Georgesen_US
dc.subjectScreenwritingen_US
dc.subjectScreenwriting, History ofen_US
dc.subjectSeeing Moviesen_US
dc.subjectSelf-Awarenessen_US
dc.subjectStanislavski, Konstantinen_US
dc.subjectTranscendental Unity of Apperceptionen_US
dc.subjectZarkhi, Nathanen_US
dc.titlePudovkin's Precept, Part 3: Bringing Movies to Kant's 'Transcendental Unity of Apperception'en_US
dc.typePresentationen_US

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