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3. THE CINEMA AND PICTORIAL ART
Pictorial influences in the cinema are usually explained by reference to t| superficial similarity of the representational resources of photography and f pictorial art. Maybe this explanation is partly correct, but it does not solve ti fundamental problem. Why is it that in regard to problems of the artis: construction of the shot the cinema, the youngest and most up-to-date of the ar, has for a number of years taken the road of mechanical imitation of pictures, a 1 not that of mastering and transforming pictorial experience with the aid of tjj specific qualities of the cinematographic method of representational constructor? Obviously, an exhaustive explanation has to be sought not in the technique f reproduction, but in the peculiarities of the development of the bourgeois cinen of which we have already spoken, and which have so largely subjected the cinen to the theatre.
We must make it clear that in discussing the inter-relationships of the cinen with pictorial art we by no means accept as correct the view of those theoris who endeavour to determine the specific features of cinematographic expressia by rejecting all succession and connection whatever with other representatiorl arts. Unquestionably pictorial art has played a considerable part in transformii'; the cinema into an art, and that fact is as unchallengeable as is the influence : the theatre and literature on the development of cinematic forms.
Of course, that is not the real problem. We regard it as much more importa: to determine those changes to which the laws of pictorial art are subjected in t| cinema, and thus to determine which of those laws have lost their significant and which, on the contrary, have received further development.
The cinema and pictorial art are related by the characteristic of being repr sentational. A production of pictorial art is primarily a representation built i on definite laws of composition. But is not the shot in its composition al essentially no more nor less than a representation, also subject to those laws, ar is not the dynamism of the cinema purely illusory ?
That is the conclusion we must come to if we take as the basis not the she the editing unit of a film, but the frame, its static element. Owing to a fal assumption, the peculiar quality of the cinematographic process, the main cha acteristic distinguishing the cinema from all other forms of representational ai is ignored in coming to such a conclusion. We will try to restore the lost lin
How is an artistic image produced in pictorial art ? In building up h picture the artist synthesises a number of general ideas which his mind has forme under the influence of various facts and phenomena he has observed in everydi
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