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

THE CINEMA AS A GRAPHIC ART ledge on the basis of the invention of photography and the creation of the requisi mechanical attachments called the cinema into existence as an instrument scientific investigation, of exactly fixing an object in its dynamic form. Mare who in 1882 constructed his famous ' photographic rifle ', was least of all interest* in " amusing " anybody, and he made use of the apparatus solely in his studi on the flight of birds and insects, his observations providing valuable contributioi to the nascent science of aviation. Edison also, who invented a ' kinetoscope at first did not intend it for the purpose of mass amusement. The simple el amination of one or two historical dates relating to the period of the emergent of cinematography will clearly reveal the true trend of these early inventions the sphere of the technique of cinematography. In 1874 the French astronomer Jansen utilised snapshot photography for ti production of several successive pictures of the transit of Venus across the di: of the sun. In 1877 Robert Muybridge used a special photographic apparati to make a number of snapshots in order to study the movement of animals. 1 1894 Jenkins constructed his first camera, which he designed to use for studyir the flight of birds, the movement of animals, and the muscular activity of hunu beings. In 1897 Oscar Messter invented an apparatus giving discontinuov movement of film, and made a film of the fall of a cat, with simultaneous fixatic of the dial of a chronometer. As we see, in its origins the cinema was intended exclusively for scientif purposes. Only the subsequent course of development snatched this inventic from the laboratory of the scientific investigator and, bringing the cinema inl commercial exploitation, threw it into the arms of the owners of fair booths an cheap music halls. Regarded as a new kind of amusing trickery, in the earl years of its existence the cinema was a mere primitive spectacle. The early fill presented any dynamic manifestation in its length of some 150 feet, and tri mere fact of showing a moving object on a screen aroused the vigorous applaud of the spectators.1 It is necessary to remark that the first men to fulfil the functions of camen men had very hazy ideas of photographic technique. The first cinematograp theatre in the world, the " Cinematographe Lumiere Freres ", was opened 0' December 28, 1895, in the cellar of the " Grand Cafe ", in the Boulevard des Capi cins in Paris. The content of the first films, or rather of the various editin units each taken from one single viewpoint, did not go beyond the simple chronic! showing of short visual subjects. " Workers coming out of the factory of tb Brothers Lumiere." " Arrival of a train." Such were the contents of thes films. Among the guests invited to the opening of the first cinema theatre was famous illusionist and conjuror, Georges Melies. The few scores of feet of prim: tive ' living pictures ' shown by the Lumieres made so great an impression 0 Melies that he decided to abandon his profession and devote himself to the stud of the new ' technical novelty ', the cinematograph. Melies, who at that tim held the position of director of the " Theatre of Illusions of Robert-Houdin " i Paris, tried to buy their apparatus from the Lumieres, but although he offere 50,000 francs, they refused to sell. This failure did not check the enterprisin conjuror, and a few months later he opened his own kinema-theatre in Pari* 1 V. Shklovsky has an interesting reminiscence of the first cinematograph perform ance in Russia. " Drankov is showing in ' Illusion ' a ribbon portraying a dog in th street. . . . Drankov was very proud. As he showed it he shouted : ' Look, look ; il hair is moving. I took it myself! ' " V. Shklovsky, Podenshchina, p. 95. 144