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

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THE COMPOSITIONAL CONSTRUCTION OF THE SHOT 35. Close-up of Peter. Frontal construction. The ect is harshly lit by back and two-sided lighting. A idow runs across the face. 36. Peter's figure. His head is cut off by the me limit. The same conditions of lighting. A idow passes swiftly over the figure. 37. Close-up 01 Peter. The lighting is the same in shot 35. A heavy shadow falls across the face 3 eter scowls '). 38. Through the railings Eugene's running figure is ;n in long-shot. Shadows run across the roadway, le shot is taken slowly, so that on the screen Eugene's )vements are accelerated. 39. Three short cutting pieces. Fragments of the iing Eugene. In this shot his arm is blurred in •vement. The shot is taken with a long-focus lens, i the speed is reduced. The aperture is fully open, yen these technical conditions, we get the effect of ivily blurred movement. 39a. Eugene's leg blurred in movement, taken as he is. The same conditions of photographing. Si 93