The cinema as a graphic art : on a theory of representation in the cinema (1959)

THE CINEMA AS A GRAPHIC ART was again altered in the direction of the previous correlationship of the sides of the silent film, expressed by the coefficient 1-33. It may be remarked here that the problem of the proportion of the rectangle in relation to compositional tasks has been frequently discussed not only in regard to cinema, but also to the original pictorial arts. In the literature dealing with these arts we find the following classification of the proportions of the rectangle framing the given work of art. In the first class are rectangles of the ' static symmetry ' type, the area of which can be divided up into a number of equal squares. For instance, a rectangle with sides having the ratio 3 to 2 can be divided into six equal squares. In the second class are rectangles of the ' dynamic symmetry ' type. The ratio of the sides of such rectangles can be expressed in coefficients the dimensions of which are equal to the square roots of whole numbers. These include the coefficients 1*414 = V2, 1732 = V3, 2 = V4, 2236 = V5, and so on. In the same class of ' dynamically symmetrical rectangles ' are those with proportions based on the principle of the Euclidean ' golden section '. Fig. 1 shows the proportions of rectangles belonging to the first and second class. Fig. 2 shows the construction of a rectangle with sides the ratio of which is expressed by the coefficient equal to the square root of two. The line OB' is a diagonal of the square OAB'. As can be seen from the dotted line, the side OB is equal to the diagonal OB7. Taking the side OB as the basis of the rectangle, we get sides with a ratio having a coefficient of 1*414 = V2. The rectangle with the base OC gives a ratio of sides expressed by the coefficient 1*732 = V3. On the base OD we have a rectangle with the coefficient 2 = V4, and on the base OE we have one with the coefficient 2*236 = V5. Fig. 3 shows a rectangle, the proportions of which are strictly in accordance with the principle of the so-called ' golden section.' BDAC is a square. O is the middle of the base BC. Obviously the line OA is equal to the diagonal OA'. Taking the side BA as the base, we get the rectangle BDFA, which has a side ratio expressed by the coefficient 1-618. After examining a number of classic and modern works accepted as perfect in point of composition, Jones came to the conclusion that it is impossible to get a standard size which shall satisfy the variety of forms of compositional construction in cinema. The differences between the needs of portrait and landscape composition, for instance, are so great, that a so-called ' standard size ' would in the majority of cases be merely a compromise solution to the problem. Jones made certain deductions in regard to the problems of dynamic composition of the cinema-frame, and, regardless of the standpoint and prerequisites on which he based his work, these deserve practical attention. They were as follow : For landscape and mass compositions the most favourable ratios of frame sides are those expressed by coefficients ranging from 1-55 to i-6o. But for portrait compositions sizes expressed by the coefficients from 088 to 1*48 are more suitable. Therefore, from the compositional aspect the then obtaining shape of the sound-film frame, which had proportions expressed by the coefficient 1-15, was satisfactory only for close-ups and medium-shots showing small groups, which deduction was confirmed by the practice of recent years. Hence, it was desirable to revise the shape of the sound-film frame in the direction of approximating its proportions to produce a coefficient of wider average application. The proposal made in America to resort to a ' wide frame ' with sides of 48 x 225 millimetres (the Fox Grandeur Film standard) only partially satisfies 28