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

THE CINEMA AS A GRAPHIC ART Fig. 49. — 2nd section of mise en scene with distribution of set-ups. 45. Eugene runs around the monument. 46. The monument accomplishes a further turn of 750. 47. Eugene runs across the frame in the same direction. Mid-shot of hi! course. 48. Third turn of the monument by 750. 49. From outside the frame Eugene runs in towards the camera. 50. In three successive cutting pieces the monument makes a swift tun (by 45° m eacn turn. Thus, together with the preceding turns, : has now accomplished a complete circle of 3600.) 51. Eugene runs into the frame from the left, and falls on one knee. 52. Mid-shot of Eugene, fallen on his knee. Fig. 51 shows the section of the mise en scene to which the foregoing shot relate. At this stage of our analysis we are not dealing with the technique of carrying out the tasks we have set ourselves. But, in elucidation of the scheme giver above, we think it advisible to make certain explanations of a technical nature. The turn of the monument on its axis can be achieved by either of two methods. Either we make a papier mache model of the monument and turn it round in the course of shooting, or we carry the shooting point around the monument. In the first case the shooting process presents no special difficulties, but, on the other hand, if we use this method we are unable to show the monument as it turns in its immediate, realistic surroundings. In the second course we' have to resort to special technical accessories 1 for carrying the camera around the monument, but we are saved the necessity of making a model, which by no means always conveys a perfect illusion of the actual object we wish to incorporate in the film. We choose the method of carrying the camera around the monument. For 1 With rails— a track shot. Without rails— a truck shot.— Ed. 80