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

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THE COMPOSITIONAL CONSTRUCTION OF THE SHOT Now we will briefly expound the narrative scheme of the scenario fragment. One dark autumn night Eugene finds himself in the Senate Square. He ^cognises the scene of the recent flood, and, in the grip of memories of the event, e turns his steps towards the monument of Peter the First. To Eugene Peter i the personification of the ' evil element ' oppressing the burdened and enslaved ountry. In an outburst of hatred he challenges the monument. His sick nagination suffers an hallucination. He imagines that the ' Brazen Horseman ' omes down from its pedestal and pursues him. He flees. Pushkin gives the lenouement as an unbroken pursuit of Eugene by the ' Brazen Horseman '. He is overtaken ; in other words, he is vanquished by the invincible might of lussian absolutism. The ' Brazen Horseman ' triumphs. Eugene goes mad, nd perishes. Such is the narrative scheme of the fragment. We must now decide what re to be the bases of the directorial treatment of the subject, for we cannot chieve any representational treatment of the film without a previous, definite lirectorial treatment. If we were to lay out the subject content in approximate representational orm we could confine ourselves to six episodes which keep the spectator informed >f the action. First : Eugene stands at the steps of the Senate. Second : He walks to the monument. Third : He challenges Peter. Fourth : Peter turns in his direction, and he turns to flee. Fifth : He runs across the square, the ' Brazen Horseman ' behind him. Sixth : The ' Brazen Horseman ' overtakes him. These six episodes in representational exposition can be depicted in the orm provided by A. Benois in his sketches illustrating the text of " The Brazen Norseman ". Figs. 40-45 give, in their order, the six sketches which have direct eference to our fragment. But a representational scheme which is completely adequate and highly irtistic in pictorial illustration is poor and inexpressive for the cinema. If we Fig. 44. — Illustration by A. Benois to " The Brazen Horseman ". 73