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

THE COMPOSITIONAL CONSTRUCTION OF THE SHOT ith such lighting. The linear outline of the object is sharply defined, but the ice is represented as a dark tonal plane. This method of lighting is used to ;veal the contoural outline of the object, silhouetting it. Second method. Front lighting. — The light rays are directed from the position i which the camera is set up. The face is presented as a clearly lighted plane, 'he contoural outline is established by a dark tonal line (Fig. 32). Third method. Side lighting from the left. — The left side of the face is brightly t, in contrast with the dark tonal surface of the right side (Fig. 33). Fourth method. Side lighting from the right. — This gives the converse of the lird method (Fig. 34). Fifth method. Side lighting from both sides. — Both the side surfaces are rightly lit. The dark tonal area passes along the line of division of the side lrfaces of the face (Fig. 35). Sixth method. Top lighting. — This gives deep shadows in the eye-sockets, nder the nose, on the neck and part of the chin (Fig. 36). Seventh method. Bottom lighting. — This gives the converse effect of the xth method (Fig. 37). Eighth method. Mixed lighting. — This clearly reveals the facial relief, which obtained by equal distribution of the light (Fig. 38). The foregoing give only a general idea of the visual effects to be obtained y regulating the direction and intensivity of the lighting. Having thus become acquainted with the elementary schemes of light and lade distribution in one or another direction, we can explain the general method : working out the lighting scheme of the shot. First stage. — We determine the general tone of the image, achieving this by nial saturation of the entire field of vision by diffused lighting from above. Second stage. — We pick out the contoural outlines of the objects by setting 3 back lighting, consisting of concentrated light. Third stage. — We work up the relief of the object by mixing sources of light om the side, above and below. Fourth stage. — We resort to special lighting effects by which the tonal spots, flections and gleams are distributed. Fifth stage. — We set up front lighting, so softening the general lighting mtrast. When the task calls for it we need exploit only certain forms of lighting, ;cluding one or another source of light from the lighting scheme. It is imposble to give fixed formulas for lighting, for the variety of lighting combinations nnot be reduced to the narrow limits of a previously stated ' law ' of lighting. 1 all cases the decisive factor in carrying out a lighting scheme is the cameraan's own creative method, or his relation to the director's aims and creative ethod. The determination of the light and tonal composition is one of the most mplicated tasks in the camera-man's art, since light creatively exploited becomes powerful means of exerting emotional influence. By changing the general tone of the image we can direct the spectator's rception to one or another sensation. Intensive lighting, forming brilliant nes, and engendering bright, dancing gleams, conduces to an optimistic perption of the object. A change in the direction of dark tones correspondingly twers the spirit of the spectator's perception. A gleam of light or a clear tonal ot concentrates his attention on a definite object, and thus we get the lightcent, which plays a significatory function in compositional construction. 63