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

Record Details:

Title:
The cinema as a graphic art : on a theory of representation in the cinema
Date:
1959
Publisher:
New York : Hill and Wang
Volume:
The cinema as a graphic art : on a theory of representation in the cinema
Leaf #:
00044
Language:
English
Collection:
Books
Format:
Books
Contributor:
Niles Essanay Silent Film Museum
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
July 11, 2024
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THE CINEMA AS A GRAPHIC ART Fig. 19. — Motivation for foreshortening construction. the associative laws governing perception of the screen image, the camera-man can achieve psychological effects, quite peculiar in the strength of their impression, which will reveal the significance of the object being shot, and interpret it in the sense laid down by the scenario. To make this clear we will give one or two examples. The psychological and emotional effect of foreshortening can be demonstrated by a number of shots from Pudovkin (director) and Golovnya's (cameraman) picture " Mother ". The depression, grief, and despair expressed by the actors are psychologically intensified by foreshortenings achieved by filming from a viewpoint slightly higher than the normal. As the result the actors appear to 46