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 #:
00087
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 1 8. Peter's motionless eyes. The close-up is lit by •ncentrated lighting from one source below. Deep ladows in the eye sockets. Frontal construction. 19. Editing cut-in. A cloud slowly passes from the sc of the moon. Diagonal composition. The shot is ken on a sunny day with panchromatic negative and a rong red light-filter. The spaces of blue sky should >me out quite black in the shot. 20. Eugene's eyes, large-scale. Fixed gaze. Frontal imposition with a slight tendency to turn to one side. 21. Editing cut-in. The cloud reveals the face of le moon. Conditions of photographing as in shot 19. 22. Peter's eyes, large-scale. A shadow slowly rosses his face. The main lighting is from below, ide lighting is gradually introduced. 23. Peter with outstretched hand. Harsh lighting rom the left side. The composition of the outstretched and follows a diagonal contrary to the movement of lie clouds in the preceding shots (19, 21). mm® 89