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 #:
00092
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 CINEMA AS A GRAPHIC ART 396. Eugene's distorted face, blurred in moveme The same conditions of photographing. 40, 40a and 40b. Three short cutting pieces j Peter's horse 'rearing'. In each successive shot t camera viewpoint is lowered and shifted somewhat the left. When cut in short sections these three piec give the effect of rearing up a steep spiral. As t camera viewpoint is lowered the foreshortening is i creased. 40a. Second phase of the ' rearing '. The viewpoi is lowered more, and shifted somewhat to the left. 406. Third phase. The camera viewpoint is sti lower, and even more to the left. The foreshortening 1 increased. 41. Peter's head, very large scale. All the depth 0 the shot is in focus. The background consists of swiftl; moving, dark clouds. Peter's eyes light up. This i achieved by the following technical method. The sho is taken in the usual way, but the negative is lef undeveloped, except for the first two or three frames which are then set in the gate of the camera. Then, ii; the studio, two shining points are set against a blacl velvet background, and are adjusted to the position of th< developed frames so that they correspond with Peter'; eyes in those frames. After the camera has been set uf accordingly, the exposed but undeveloped section o' negative is placed in position, and a second exposure produces the shining points in Peter's eyes. 42. A long-shot, taken from a viewpoint above, of Eugene's tiny figure running in zigzags. 94