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

Page scan 00089 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 #:
00089
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 28. In the foreground, Peter's head taken from lind. In the background is a mid-shot view of Eugene. lis shot is in essence an enlargement of the previous :)t, and preserves the same principle of composition. ter's head is taken in silhouette ; Eugene's figure is evenly. The attention is concentrated on Eugene's >vement. 29. In the foreground, Eugene with back to the ,nera. In the background is the monument, which is with back lighting and emerges as a dark silhouette jiinst the grey sky. Eugene is lit evenly, with clear finition of the profile, obtained by semi-back lighting, gene's head turns to the camera, and we see him in Dnle. In this shot he completes the phrase : " thou >rker of miracles ! " 30. In the foreground is the upper part of the rail's. The camera viewpoint is raised. In the backDund Eugene's legs are visible, running towards the nera. In the scheme the direction of the movement shown by an arrow. THOU WORKER OF MIRACLES! r 30a. Continuation of the same cutting piece, igene runs up to the railings and seizes them. 31. First phase of the pan upward over the monunt. The monument is shot somewhat from one le. The direction of the pan is shown by an arrow. 91