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 #:
00067
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 COMPOSITIONAL CONSTRUCTION OF THE SHOT From the ironic " Good, thou worker of miracles ! " Eugene rises to the direct hreat " Enough of thee ! " And this threat, shattering against the dead statics f the monument, returns like a boomerang to strike Eugene himself, evoking he hallucination that he is pursued, and so driving him insane. Thus, the theme itself necessitates different treatment for the two proagonists. The monument of Peter, and in particular the statue itself, in conunction with the Empire details of the surroundings, postulates monumentally tatic treatment. The image of Eugene, as the chief actor, is treated in unbroken lynamic form, with a dynamic line continually intensifying from the moment of he threat to the final destruction of the maniac pursued by the ' Brazen Horsenan '. The narrative line of this scenario fragment develops through the clash md conflict of these two tendencies : static and dynamic. We turn to a detailed consideration of the actors and the scene of the action, ind to the elucidation of a number of representational indications provided by he text of the poem itself. Eugene's character. — In Pushkin we find the following clues to an undertanding of Eugene : But my poor, poor Eugene. . . . Alas ! His disordered mind Against those terrible shocks Could not withstand. And, farther on : He soon to the world Grew alien. All the day Fig. 40. — Illustration by A. Benois to " The Brazen Horseman 69