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 60. The granite rock, without the ' Horseman', lis may be achieved by taking an exposure on the t with the aid of a screening mask. The monument is )tographed, but in exposure the image of the horseman >bscured by a cut-out mask. After the first exposure the exposed negative is wound back to the first frame, I a second exposure is taken. All that part of the ■ative on which the granite rock has been taken is cured by a mask, and clouds flying across the sky are )tographed on the unexposed upper part of the frames.) 61. Editing cut-in. A cloud swiftly coveis the face he moon. Composed along the diagonal shown by dotted arrow. 62. The shadow of the ' Horseman ne along the same diagonal. flies across the 63. A corner of a house in the upper part of the ne. Eugene runs across along the same diagonal as of the preceding frames. At the spot indicated in scheme by the turn of a dotted arrow, he falls and s for a moment. Then he passes beyond the camera's I of vision. For a few seconds the spectator sees an >ty frame. 63a. The same cutting piece. The shadow of the azen Horseman ' runs into the frame, halts in the re for a moment, then passes beyond the field of >n. 64. The granite rock without the ' Brazen Horse ' X if '<■-** 99