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

THE CINEMA AS A GRAPHIC ART the illusion of three dimensions. But as light and the tonal relations it sets ip are essentially the sole means of transmitting both objects and space, both ;: and colour, we can use lighting to express predominantly one or the other the above specified ' formal categories \ For instance, we can express the thre dimensional volume of objects, which will then have distinct contours, linedefinition. Or with the same lighting we can treat dimension ' pictorially ', which case it will no longer be distinctly plastic, but vague, fluid, and as tnouj. veiled in a fine mist. It is essential to give full attention to these two contrapos<. treatments of the image : linear-dimensional, and light-plastic, which is pr dominantly spatial. In the first treatment space will be perceived as depth, L in its volume and linear aspect. In the second treatment space will be perceivt as light and air, in other words as an aerial perspective. 2. Exposition of the texture of the object. — The character of the lighting pla\ a decisive part not only in constructing the dimensions of the object and of spa< in the photograph, but also in revealing the texture of the material. Here bo\ the intensivity of the lighting and its direction are of importance. An unequ; rough surface reveals its texture when lit by an intensive, direct light. Polish( metal, on the other hand, needs soft, diffused lighting. In accordance with tl nature of the material and the task we are set, with the aid of lighting we ra either accentuate the texture, sharply revealing it, or we can modify its characte Here the action of light is analogous to the action of lenses, and we obtain tl effect we need by correspondingly co-ordinating the choice of lens with the di tribution of the light. 3. Fixing the general tone of the image. — A general change in the intensivii of the lighting involves a change in the general tone of the image. The tone < the image is in direct dependence upon the intensivity of the lighting. If v increase its intensivity we shift the tone in the direction of the lighter gradatioi of the tonal scale. By differentiating the lighting of the various surfaces of tr. object, we obtain a differential distribution of the tonal spots.1 The foregoing are the chief features characterising the importance of ligl and tonal composition. We must consider certain problems connected with tr technique of distributing light and shade and of grouping the tonal areas. When a ray of light falls on any object it forms light and shade areas on tr surface of that object. If we carefully examine the image we can distinguis bright lights, shadows, semi-shadows, and gleams. Deep shadows are also forme around the object, and these give us a silhouetted contour of that object, i on the side opposite to the source of light the object is bounded by light surface: the deep shadows produce reflections formed by the action of reflected ligh Thus light, semi-shadow, shadow, gleam and reflection are the main elements in th optical representation of the object photographed. We shall consider eight methods of lighting which schematically show th, distribution of light and shade in dependence upon the number of sources of th lighting and the direction of the light rays. First method. Back lighting. — The source of light is placed diametrical! opposite the camera, and lights up the object from behind. In this case we ge the effect of back lighting. Fig. 31 shows the distribution of light and shadoV 1 The length of exposure of the negative also plays a great part in achieving a give tone in the image. By under-exposing we achieve a general reduction in tone and compression of the tonal scale. The image darkens and becomes ' contrasty ' in nature By over-exposing the general tone is heightened, and the image loses the quality of contrast —N. 62