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 #:
00084
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 CINEMA AS A GRAPHIC ART \ CmiiniiiiF W J), t 7. Mid-shot of Eugene's advance (from behin< The flight of steps is shot symmetrically. The dep of the frame is out of focus. The arches emerge as dark silhouette against a grey background. The came follows Eugene. ya. Continuation of the camera's movement. Tl camera viewpoint lowers by successive stages and tl silhouette of the ' Brazen Horseman ' is outlined in tl shot perspective. yb. Continuation of the camera's movement. Th camera passes through the arch on to the porcl Eugene in long-shot makes his way towards the mom ment. The monument is composed in the centre of th shot. In the compositional scheme the dotted line show; the direction of his approach to the monument. Shot 71 is cut off at the moment of his coming to a halt. yc. Eugene continues his advance to mid-shot This shot is cut into the middle of shot yb, and is takei from the same point, but with a long-focus lens (onl; the degree of nearness of the object shot is changed). yd. Completion of Eugene's advance in long-shot Here we cut in the completing section of shot yb. 8. The curve of Eugene's course round the monument. The viewpoint is raised. Peter's figure is partly cut off by the frame limit. The main attention is concentrated on Eugene's course. Peter as a new personage in the action is introduced into the field of vision only in the subsequent shots. 86