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

THE CINEMA AS A GRAPHIC ART Fig. 22. — Hobbema's picture " Avenue at Middleharnis direction, all the details of the lower part of the image will be perceived in strong perspective foreshortening. If we do the opposite, i.e. raise the vanishing point and consequently the horizon line, all the details in the upper part of the image will undergo perspective foreshortening. And if we shift the vanishing point still higher, we shall arrive at the ' bird's eye perspective '. Consideration of the system of perspective unity reveals the functional dependence of a number of compositional factors in their spatial interaction. Whether illusory or actual, the horizon line is of tremendous importance both in regard to the height of the field of vision, and in creating the impression of depth in the image. Meantime the situation of the horizon line is linked up with the choice of viewpoint, and this latter in turn determines the distortion of the object and its distantial plane. On the height of the horizon line depends the predominance in the image of details situated below, or details situated above that line. It a painter is most interested in representing the fields, trees and structures in a given landscape, he chooses a higher viewpoint, the horizon line is raised, and these details predominate. But if the composition of the image is based on the predominance of details situated above the horizon, then, of course, he chooses a lower viewpoint. Such are the elementary rules of linear perspective which are necessary to our further argument. Of what importance are the laws of linear perspective in the compositional construction of a cinematic image ? Before we can answer this question we must point out certain peculiarities, 50