We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
CREATIVE PROBLEMS OF THE ART OF THE CAMERA-MAN
| rmal one. It enriched his technique with certain new technical resources, which i larged the scope of the cinema's expressive possibilities. The distorting lens, ; w methods of lighting, innumerable methods of trick shooting are all due to ; arge extent to the unusually complex creative tasks set by expressionism, which ;ks demanded the greatest craftsmanship and power of creative representation.
Among the negative formalistic factors of expressionism is first and foremost
compositional illogicality, which arose out of the stylistic peculiarities of the
■ iting composition of expressionist films. With its deliberate ignoring of logical
d psychological laws it created special forms of editing composition in which
compositional succession was either violated or completely absent.
The striving after intensified dynamism which was peculiar to expressionism d have positive significance, for it freed the cinema from the static frames of e theatricalised cinema of the preceding period. But, on the other hand, the iting disintegration, the unexpectedness of the transitions, the general inconquentiality of the editing exposition also arose as the result of this striving after treme dynamism, and these led largely to compositional chaos. In expresmistic shots it was difficult to distinguish any guiding motives in compositional nstruction.
After 1924 there was a retreat from expressionism in Western art generally, d especially in cinema, but despite the partial turn to new forms and return old ones, the superficial features of expressionism in camera-man's art have :en retained down to the present time in the bourgeois cinema.
We find as a ' final ' tendency an original combination of expressionist eleents with an impressionist manner of treating the shot in the films of the French mera-man Rudolph Mate.
Rudolph Mate, who has become famous for his work with the director reyer, especially in the films " The Passion of Joan of Arc ", " The Vampire ", id " The Extraordinary Adventure of David Grey ", has characteristically
k^m 4v^_
G. 86. — Sketch for treatment of the face of the medium Caesar (" The Cabinet of Dr. Caligari ")•
163