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 #:
00086
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
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

THE CINEMA AS A GRAPHIC ART 71 *V 15, 15a, b and c. These four shots cover the maiv phases of a single pan, moving upward over the monu ment. The motivation for the pan is revealed in the sub sequent shot. (Eugene raises his eyes to Peter.) Th pan begins from a lower viewpoint, corresponding witl Eugene's glance. The camera is set up inside the rail ings, so that these do not come within the field of vision The pan ends before it reaches Peter's face. The fore shortening of the monument is increased as the pan i: raised. The tempo should be fast. 16. Large-scale close-up of the upper part of Eugene's face. He raises his eyes to Peter. The camera viewpoint is from slightly above. Eugene's face is taken in strong foreshortening. All the depth of the shot is in focus. The damp, cobble-stoned roadway, lit with contrasted lighting, forms the background. The composition of the close-up is diagonal. The figure is sharply inclined forward, and the face is tilted upward. The scheme shows how the face is cut off by the frame limit. 17. Peter's monumental face. The eyes are cut off by the frame limit. This shot does not yet show the meeting ' face to face '. Peter's face is taken frontally. The camera viewpoint is fixed along a line perpendicular to the plane of the object. The lighting is mainly from the back. Peter's face is in shadow and sharp outline. Only the characteristic form of the face is emphasised by side lighting. 88