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 #:
00075
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 Fig. 46. — Mise en scene of Eugene's course around the monument. These shots cover that part of the mise en scene dealing with Eugene's arrival n the square. Noting down the camera points corresponding to this distribution )f shots, we get the scheme shown in Fig. 48. The line of movement covered )y the above-specified shots is marked with a thick line. All the rest of the nise en scene is shown by a dotted line. The distribution of the shooting points is shown by straight line segments, iach marked with the appropriate number of the scenario shot. The length of jach segment determines the breadth of the field of vision in the given shot (longihot, mid-shot or close-up). The direction of the viewpoint is indicated by an irrow. To continue the distribution of shots : Script shots 8. 9 10. 11. 12. i3H15. Eugene passes around the monument. He emerges from behind the monument. With face to the camera, close to the railings, he passes to the left. From behind, in a mid-shot he passes to the middle of the railings. Close-up of Eugene at the railings (from behind). His face taken through the railings. His face seen through the railings, very large scale. A flowing pan-shot upward over the monument. 77