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THE CINEMA AS A GRAPHIC ART
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Fig. 4. — Page from a Japanese drawing primer.
frame, he ipso facto predetermines the form of the linear composition of the shot, since he establishes the vertical and horizontal axes along which the frame space is perceived by reference to those frame limits.
In camera-man's terminology ' to pick a set-up ' means first and foremost to find the appropriate margin for the image. Only when the margin is fixed can we proceed to the distribution of the objects in the shot, and then to determining the remaining elements of compositional unity.
It is interesting to note that the cinematic method of ' picking out ' the frame is used in Japanese schools as a first stage in the study of drawing. From a general landscape the students ' pick out ' various rectangles, circles and squares, isolating a given detail, and thus creating their own composition. Evidently the Japanese teachers have a sound understanding of the primary importance of the margin of the image in the general process of composition, and so introduce it in this way into the first stage of study. Fig. 4 shows a page from a Japanese primer of drawing.
The cut-outs of the branches of the cherry tree are particularly characteristic, for they most clearly reveal the correlationship of the form of the cut-out with that of the detail thus isolated from the object as a whole.1
We must now consider the compositional bases obtained by modifying the position of the frame limits in relation to the vertical and horizontal axes of the object filmed.
In the film " October " 2 (director, Eisenstein ; camera-man, Tisse) is a scene in which the revolutionary workers of Petrograd are preparing their defence.
1 See " Re the Frame," Eisenstein's postscript to Kaufman's book Japanese Cinema, 1929, p. 29. — N. (Ed. Note, p. 25.)
2 English title, sometimes, " Ten Days that Shook the World ". — Ed.
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