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 #:
000110
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:
June 20, 2024
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THE CINEMA AS A GRAPHIC ART subject than is a softened optical transmission of the ' picture-book ' type, c,. posing to a passive, contemplative perception. The foregoing general factors all affect the method of displaying the dynamin of the representational elements in the shot. It has to be emphasised that e dynamic effect of a single shot in its general form cannot be determined apt from the editing composition of the given episode, just as it is not possible] find a compositional form for any shot apart from the general element of copositional succession. If we isolate a single element in the shot, and give it dynamic impulse wiiout taking into account the compositional task of the shot as a whole, we viol;? the intra-shot responsibilities of the narrative development, which in turn affe I the development of the narrative in the editing composition of the film. Tj statics and dynamics of each shot are inseparably bound up with the statics a I dynamics of the narrative development. As in the case of general composition problems, the static or dynamic determination of each shot can be decided upi only by analysing the narrative development of the scenario in its final forn So that, in this regard also, the element of compositional succession is : prime importance. 112