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 #:
00095
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 53. Eugene's foreshortened face. A close-up, face the camera. Diagonal composition. 54. ' Editing formula ' for Eugene's crushing under)t. Three cutting pieces. The first piece shows the rse's hoofs, taken very close up, with a short-focus is (focal length — 28 mm.). Strong optical distortion. 54«. Second piece : The horse's muzzle, taken on ge scale. Shot with the same lens giving strong tical foreshortening. 546. Peter's face and burning eyes. Very short tting piece. i 55. Eugene's eyes, on very large scale. Diagonal mposition, the same diagonal as that of the close-up Eugene in shot 53. Sharp optical delineation, harsh, itrasted lighting. 56. Repetition of the ' editing formula ' for crushing Jerfoot, but in the contrary order. First cutting !ce; Peter's face strongly foreshortened. 97