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

Page scan 00070 from The cinema as a graphic art : on a theory of representation in the cinema

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 #:
00070
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
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

THE CINEMA AS A GRAPHIC ART Fig. 43. — Illustration by A. Benois to " The Brazen Horseman ". There had recently been a flood in the Senate Square. We may justifiab assume that the road would be torn up in places by the action of the waves. Ar the lower part of the railings might be heaped with sand. These details a also essential to the further development. Finally, Pushkin gives us some highly important clues to the lighting of tl square. He says : And opposite, towering in the darkness, Above a rock railed all around, An idol with extended arm Was riding a brazen horse. He goes on to say that the brazen horseman is ' terrible in the surroundir; mist '. But at the end of the fragment come the lines : And, haloed by the pallid moon, With one arm stretched on high, After him speeds the Brazen Horseman, On a ringingly galloping horse. From the foregoing we may assume that at the beginning of the action, whe Eugene first appears, the moon is hidden by clouds, and the figures on the squar emerge as silhouetted outlines. Then the moon emerges from the clouds and th lighting changes. We may even assume that the moon is hidden behind cloud several times during the action, and that, driven by the wind, the clouds racl swiftly across it. This feature is a highly important factor in the constructioi of the later shots, and we must emphasise it. 72