The cinema as a graphic art : on a theory of representation in the cinema (1959)

THE CINEMA AS A GRAPHIC ART The dynamic impulse is the dominating factor in foreshortening constn. tion, and from this aspect it is difficult to conceive of foreshortening apart frci the dynamism inherent in it. Fig. 60 gives three photographs showing the ' Brazen Horseman ' in suca sively increasing foreshortening. In the top shot, taken from one side, there is relatively little foreshortenir. 1 The middle shot shows increased foreshortening, while the viewpoint has bei shifted somewhat to the left. In this shot the dynamic effect is intensified n] only by increasing the foreshortening, but also by scale enlargement of the obje< In the bottom shot there is still greater foreshortening, and the figure is st larger. The dynamic effect is at the maximum by comparison with the precedii shots. If we edit these shots in the above order, we get the effect of the monume ' rearing', which we required in " The Brazen Horseman " scenario treated in Se tion 5. Provided the editing pieces are cut to the necessary shortness, tl dynamism of the foreshortening construction of each separate shot is transfern to the dynamism of editing. We could achieve an effect analogous in principle by continuous shifting 1 the camera viewpoint, at the same time gradually bringing the camera nearer tl object. In that case we should get a single, continuous editing piece, in whic the object would gradually pass through all the stages of foreshortening coi struction. The dynamic effect would be achieved solely by the agency of t\ intra-shot dynamism, without resort to the dynamism of editing. In foreshortening constructions the exclusion of a static point of suppo: from the field of vision plays an essential part. If we shoot a man first full lengt and then from the waist upward, using the same foreshortening construction, th dynamic effect will be stronger in the second than in the first case, because th static point of support will be invisible to the spectator. The same effect : noticeable in glancing at the three shots of the ' Brazen Horseman ' we have jus discussed. The more comprehensive the composition, the closer we approac to revealing the static point of support, the weaker becomes the dynamic effec of the foreshortening construction. We must also briefly consider a few general factors determining the element of static and dynamic composition in the construction of the shot. A symmetrical, frontal construction, distinguished by the stability of it equilibrium, least of all reveals the dynamic tendencies of the object. On the other hand, an asymmetrical, diagonal construction is the char acteristic feature of dynamic construction. A flat, single-planed construction is less dynamic than one with depth an< several planes. The existence of several planes creates the illusion of depth, an< the eye, linking up the middle ground with the background, is more disposed t< perceive the dynamism than in the case of a static contemplation of a single planed, flat construction. The impression of depth is almost always evoked b] the juxtaposition of the middle with the background, and the dynamic effect 0 a linear perspective passing into the distance essentially depends on this factor The diagonal composition of a linear perspective in turn gives a stronger dynamic effect than a symmetrical composition from a central viewpoint. From the aspect of the tone of the shot, compositions built up on sharp tona contrast will be more dynamic than compositions carried out in softened anc monotonous tone. A sharp optical transmission is more conducive to the perception of a dynamic no