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

Page scan 000163 from The cinema as a graphic art : on a theory of representation in the cinema

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 #:
000163
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:
July 11, 2024
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CREATIVE PROBLEMS OF THE ART OF THE CAMERA-MAN . Fig. 89. -Shot from the film " The Passion of Joan of Arc " (Rudolf Mate, cam.). stable, unbalanced compositions which express a subjective striving to convey 1 the shot a single, unrepeatable impression of the object. The specific features f Mate's later work, especially in the film " The Passion of Joan of Arc ", are estruction of the depth of the shot by * washing ' (i.e. putting it right out of >cus), mid-shots and close-ups taken on the ' smooth canvas ' of a completely hite sky, movement expressed in sharp, frozen turns, and absorption with aerial erspective. Figs. 87-89 are three frames from " The Passion of Joan of Arc ". lmost all his shots, taken with severe foreshortening, and with extreme regard ) aerial perspective, reveal the camera-man's subjectivism, and his avoidance of 1 generalising features in his compositions. We should also note the influence of the ' abstract ' artists on the development f the camera-man's art. Among them we may mention the work of the Scandiavian artist Viking Eggeling and his film " Light Rhythms ", also that of the rench ' Avant-garde ' group and the first films of Walter Ruttman. But as in lese films it is impossible even for the purposes of discussion to separate the imera-man's work from that of the artist-designer, we shall not consider them ere. i65