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

Record Details:

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 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 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