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

THE CINEMA AS A GRAPHIC ART Owing to its superficial similarity to certain tendencies in pictorial art th second form of transmission is not infrequently called ' pictorial treatment ' ( the shot. But of itself the presence of light and shade, the replacement of a shar contour by a tonal spot or the general softening of the optical outline of the imagt far from determine a particular style in the camera-man's art. An aggregate ( methods emerges as an independent style and forms an integral system wherevt the unity of the compositional principles is combined with the unity of the func tional treatment of the shot, wherever each formal and technical method is reco^ nised as a means of effecting ideological influence, and, finally, wherever there successive logical development and transition of the film composition as a genera ising element into the compositional forms of the various shots. The form; methods of ' graphicality ' or ' pictoriality ' are only essential marks of styl when they express a peculiarity and distinctive character in the perception of th world, when they are the product of a definite emotional and intellectual treatmer of life. Only under such conditions do we get an organic artistic productior with expressive resources organised as a unity in treatment of the content throug a definite style. A number of French films clearly reveal impressionist sources in the camera man's creative attitude. The finely filmed landscape shots in Rene Clair's picture provide examples of the transference to cinema not only of individual methocf of impressionist artists, but sometimes of complete compositional construction^ a general impressionist perception and treatment of nature. The attempt to build the shot on the finest transitions from light spots t fine semi-shadows, and complete contempt for the linear aspects of the objea the chase after gleams, silhouettes, aerial perspectives, and taking objects out c focus, are all characteristic features of this tendency in camera-man's treatmeni and relate him to the impressionist school. But is impressionism in the cinem; always the result of direct imitation, or does it sometimes arise as the expression of a definite creative attitude ? That is a question which cannot be answerer by way of simple analysis of only the formal elements of a film. Every art produci including the cinematographic, always reveals the philosophy of the man wh creates it. Consequently, impressionism may indeed appear in the cinema fron time to time as an independent phenomenon, apart from deliberate imitation o pictorial art, but owing to the force of logical succession one may none the les assume that pictorial influences have played their part even then. In our opinion isolated impressionist enthusiasms, which arise out of th camera-man's temporary interest in impressionist art on the one hand, and ou of an increasing interest in lighting problems on the other, are insufficient justi fication for speaking of a definitely expressed stylistic attitude. These isolate* tendencies have undoubtedly enriched camera-man's art with a number of nev technical resources, especially by the application of softening lenses and lighting but in a finished form impressionism has never existed as a creative tendency ii the cinema. The appearance of the light spot, the silhouette, ' Rembrandtesque lighting, are all attributable largely to the same imitative tendencies which com pelled the camera-man to bring the finished compositions of Renaissance pictoria productions into the cinema. The only difference is that in this case the borrow ing of pictorial experience took not only the course of adopting compositiona schemes similar in subject, but also that of studying the peculiarities of lightim treatment. While the impressionist tendencies, which developed as the result of pureb 158