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 i 77. Final repetition of the editing formula for Ejene being crushed underfoot. Cutting pieces con- l of six or seven frames each. p ;e : the horse's hoof. First cutting 77a. The horse's muzzle. 77b. Peter's foreshortened face. 78. Peter's head, taken in profile. Back lighting. 1 e camera moves towards him, and the black silhouette 0 the head slowly fills all the frame field of vision. The dtribution of the silhouette in its final phase is shown iithe scheme by a dark contour. 79. A cloud slowly covers the moon. A faded out pause. A slow fade- 80. The silhouette of the ' Brazen Horseman', y tiding motionless on the granite rock, slowly fades 1 from the obscurity. The monument is taken in P>file. The viewpoint is at average height. Only k lighting. The completely black sky serves as I :kground. Compositionally the ' Brazen Horseman ' 5i)uld be static. The shot fades out. 777^ t THE END 103