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 mhdl@commarts.wisc.edu 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 CINEMA AS A GRAPHIC ART ^ y 72a. Second cutting piece : the horse's muzzle. 726. Third cutting piece : Peter's face. In all thr pieces the same conditions of shooting are observed in the previous repetitions of this ' editing formula'. 73. The shadow of the ' Horseman ' passes aero the frame in the direction indicated by the arrow (tl contrary direction to that of Eugene in the followir shot). . 74. Long-shot taken from an upper viewpoint. Tl tiny figure of Eugene runs diagonally across the frame. 75. The same set-up. The shadow of the ' Hors< man ' passes along the same diagonal. 76. Eugene runs into the frame and falls. Diagons composition. For some seconds he lies motionless Then he tries to rise. The shadow of the ' Horseman passes into the frame in the same direction, and cover Eugene. 102