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.
THE CINEMA AS A GRAPHIC ART
This, however, does not distinguish cinema from the theatre, where also w have action in a real situation, i.e. in a seen space. The difference consists in th circumstance that in the theatre we are given the real action of living people i relatively real three-dimensional space. But in the cinema that action is reprej 9 sented and built up by analogy with the pictorial arts, as we have shown in analys ing the composition of the shot. The single frame is certainly a static picture but brought into movement on the screen (i.e. where in fact the perception of th film begins) it is no longer a static picture, but action. The cinema is a new an with a new, qualitatively distinguished image, although it has relation to th images of other arts. Only if this is taken into account can we reach a soun< understanding of the relationship between static and dynamic in cinema.
Cinematic dynamism is manifested in two forms. The first is the dynamisr of editing, which, however, cannot be regarded as specific solely to cinema arl If we imagine a film edited exclusively from static frames, it is impossible t establish any difference in principle between such a film and pictures edited ii a given thematic sequence. If we imagine an ' editing of static pictures ' ant , then look at a film consisting of a number of immobile images, we get a resul absolutely identical in all essentials, in which the cinema plays only the role o providing certain technical means of reproduction.
The second form is the intra-shot dynamism, which enables cinema to reflec any dynamic process in its real course, without reducing it to static representation Here the kinship with pictorial art is largely lost, and it is this form in combinatioi with the dynamism of editing which provides the predominant features of cinema In the early period of the cinema the absence of an editing theory not infrequently involved abuse of intra-shot dynamism. But later, with the development o editing and not without the influence of pictorial arts, a second tendency emerged taking the form of exclusion of intra-shot dynamism and its replacement by self sufficient editing construction, in which the shot was allotted only the role of i basic non-dynamic picture in the film.
Of course, neither the one form nor the other exhausts the methods of expressive construction in the cinema, which must base its expressiveness on organic interaction, interpenetration of the editing and intra-shot dynamisms, in isolated instances even exploiting a transition to complete staticity as a means of influence and correction.
The cinema may resolve a composition dynamically in its entirety, without an> enforced break and reduction to the static. It can and should reveal the content of the shot with the expressive resources organically peculiar to it, and should not mechanically take over superficial methods of formulation from the pictorial arts^
Fig. 90. — Representation of a galloping horse in a Roman fresco and in a medieval painting.
168