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 #:
00094
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 ' 'I I )+* UW 49. Eugene runs into the frame. On the right-hjd side is the railing, the curve of which duplicates ie curve of his run. The shot is taken with short-fo s lens, and so his movement towards the camera acquis tremendous impetuosity. 50, 50a and $ob. Three short editing pieces, completing the turn of the ' Brazen Horseman \ Shot 3 gives the first phase of the turn, through 45 °. 50a. Second [editing piece, a further turn throu 45 50b. Third editing piece, a further turn throui 450, bringing the ' Horseman ' back to his origii! position. The figure is taken in strong foreshortenm In all three pieces the shot is taken slowly, so that wh,[ projected the speed of the turn is very fast. SwifV moving clouds form the background to all three pieces,, 51. Eugene runs into the frame from the left, ar falls on one knee. The viewpoint is from above, part of the railing is visible in the upper part of tj frame. 52. Close-up of Eugene fallen on one knee. Tl close-up is composed diagonally, with the figure sharp inclined. The shot is taken with a short-focus lens, the depth of the shot is in focus. Part of the railing clearly visible. 96