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 #:
000101
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:
March 21, 2024
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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