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

Page scan 00085 from The cinema as a graphic art : on a theory of representation in the cinema

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 #:
00085
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 9. Eugene appears from behind the left side of the onument. A side viewpoint is chosen in relation to le monument. The horse and rider are cut off by the ame limit. The viewpoint is raised sufficiently to veal the line of the railings. 10. The viewpoint is transferred to the monument, ugene is shot facing the camera through the railings, [ere he takes the same course as in shot 9. The backround is out of focus. 11. Mid-shot of Eugene's advance to the railings, le is shot from behind. The movement is in the con'rary direction to that of shot 10 and in the same direcion as that of shot 9. The background is out of focus. 12. Close-up of his advance to the railings (with Yack to the camera). He enters the frame from the eft. This shot completes the movement carried on hrough shots 9, 10 and 11. The inclination of Eugene's igure is the same as that of shot 11. 13. The same close-up, but facing the camera. He enters the frame from the right. The inclination of the igure is in the opposite direction to that of 11 and 12. rle seizes the railings. 7^ £ 14. His face through the railings. The close-up s composed diagonally. The railings are taken very sharply and lit with harsh back lighting. All the depth is completely out of focus. 87