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

THE CINEMA AS A GRAPHIC ART were to screen six shots with such a simplified scheme we should have a primitr informational exposition of very little emotional effect, and by no means revealii all the true expressiveness of the subject. Obviously we should have a mechani ally illustrative, simple staging of the subject, which would not capture all tl pictorial wealth of Pushkin's poem. With the aid of the specific resources of cinematic expression we shall try find a compositional unity which will give us at least a distant approximation the content and the stylistic construction of our literary fragment. The directorial treatment must note the following narrative episodes callir; for expression. i. Eugene finds himself on the Senate Square. Here we must give, fir a representational idea of the scene of the action, and the specific details of tl square, and then an idea of Eugene as the chief actor. 2. Eugene makes his way to the monument. When a little way off he rais< his eyes to it, and, suddenly caught by a fixed idea, he seeks a meeting ' face t face ' with Peter. 3. In a feverish agitation, shudderingly he raises his eyes to Peter. 4. The meeting ' face to face \ Peter's eyes — Eugene's eyes. 5. Eugene utters his challenge to Peter. 6. The ' Brazen Horseman ' reacts to the challenge. Peter's eyes light u with sullen fire. The horse rears on its hind-legs. 7. Eugene turns to flee. The rider on the granite rock turns after him 8. The narrative denouement. Peter pursues and overtakes Eugene. The directorial treatment can handle the first three episodes in annunciati\ form. This includes all the shots dealing with Eugene's arrival at the squai and walk towards the monument. The fourth and fifth episodes deal with th | scene of the clash between Eugene and Peter. Eugene challenges Peter, and th challenge recoils on Eugene himself. The sixth episode is the most complex t treat in our cinematographic medium. The rearing of the ' Brazen Horseman and his turn after Eugene is the culminating point of the entire construction. Th seventh and eighth episodes give the narrative denouement, leading up to Eugen being pursued and overtaken by the ' Brazen Horseman '. Now we are confronted with a decidedly difficult task. The literary fragmer we have chosen is an exposition both of real details, and also and especially c the hallucination which Eugene suffers because of his sick imagination. Thu we have to utilise the cinema's representational resources to disclose Eugene' subjective experiences, and at the same time, in the denouement, we have to sho^ the unreality of the final incident. If we were completely to ignore the logics motivation in the development of the narrative we would treat it mystically, anthat would be ideologically incorrect treatment of the fragment. Meantime, th text of the poem itself supplies several hints which enable us logically to elucidat the conditions in which Eugene's hallucination arose. We recall these hints i: their definite connection with our task. Eugene walks into the square at night. The moon is hidden behind clouds An autumn wind is blowing, and a drizzling rain is falling. Eugene utters hi challenge. The moon emerges from behind a cloud and lights up Peter's face In Eugene's imagination the suddenly illumined features ' momently burn witl anger '. This serves as the impulse to the development of the hallucination Eugene is afraid of Peter's vengeance : he awaits an answering blow. He onh imagines that the monument turns round. He has the impression that the horse man is turning to follow him. 74