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CREATIVE PROBLEMS OF THE ART OF THE CAMERA-MAN
,enin's Arrival in Petrograd in 1917 ", Ptchelin's " Session of October 10th ", ad N. Shukhmin's " Landing from the Aurora in 1917 ". These pictures all ^produce subjects with the same compositional planning and the same details. 5 those of certain frames of the film " October ".
Thus in various regards cinema and pictorial art mutually complement, lutually enrich each other. For the camera-man the study and knowledge of le laws of pictorial art are not only necessary but obligatory. He must learn om the artistic heritage of the pictorial, architectural and plastic arts, for only 1 such conditions can he consciously apply in his work the experience accumulated y the representational arts of origin earlier than the cinema.
But in what form can the camera-man borrow and apply that experience ?
It is essential that there must be no mechanical copying, no mechanical ransference to the cinema of various methods and compositions of pictorial art, jst as in pictorial art there should be no simple copying of the cinema frame. Vhen applying the compositional scheme of any pictorial production in his shot onstruction, the camera-man must by analysis abstract and elucidate the principles f that compositional scheme, must envisage it not merely as a formal method, ut as a philosophic quantity, as a method of artistic treatment of the real object. L comparison of the shot's functional task with the principle of the proposed ompositional scheme will at once reveal to what extent that scheme is suitable or the expression of that functional and emotional task. In the search for methods f lighting, also, the camera-man is justified in turning to pictorial experience, ut here, too, a critical approach is necessary, because any given method must >e organically connected with the general representational treatment of the film. )nly that which organically derives from the representational treatment adopted, nd does not contradict the general style of the film, only those methods for which here is definite intrinsic justification can be exploited as means of artistic influnce. When undertaken from this viewpoint the critical borrowing and mastering of pictorial experience is entirely expedient. When such an attitude is adopted he antagonism between pictorial art and the cinema is entirely eliminated.
But the mechanical copying of pictorial productions and various methods of »ictorial art always leads to a superficial, external ' pictorial formulation ', which leprives the film of its genuinely cinematic expressiveness and transforms it nto a ' substitute for representational arts '.
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