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

THE CINEMA AS A GRAPHIC ART Fig. 13A. — Influence of viewpoint <. the character of the photograph: reproduction of architecture. V: have a frontal view of the buildir in symmetrical plan. A centr viewpoint from average height h been chosen. If we preserve tl symmetrical plan, but lower tl viewpoint somewhat, we g Fig. 13B. Fig. 13B. — Here the predominant fe; ture becomes the statue, which sharply defined against a bad ground of sky. In addition, sue a viewpoint gives us a perspectiv of the wings not existing in tl previous illustration. •^n3S?S5^0<^^ Fig. 13c. — Shifting the viewpoint the left, we get a diagonal view the building, which preserves th general balance of the compositior but endows the representation itsel with a relatively dynamic quality. construction of the given episode or scene, and so can ascertain the correct motiva tion for the viewpoint in each separate shot. The choice of viewpoint plays just as important a role in shooting a moving object, for here we are set the task of displaying the character of the movement ir its clearest and most expressive form. We will analyse several typical examples such as are frequently found in cinematic practice, of constructing objects in i shot. First Example. — From a static viewpoint we have a shot of a moving object against a static background. The direction, speed and character of the movement are perceived by the spectator in their relation to the static background. In this case the background plays a secondary role, remaining in an unchanged position throughout the shot, whereas the moving object is continually undergoing change. The camera viewpoint is chosen with the purpose of concentrating the spectator's attention on the moving object. 40