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

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 #:
000177
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:
March 21, 2024
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




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 3. 1 02. — Mother and child. Shot from the film " Women by Day ". G. 103. — Mother and child. Shot from the film " The Fate of Renata Langen ". 10. 104. — Mother and child. Shot from the film " Waste and Want ". Compare these six portraits with the photograph in Fig. 10 1. Do not these six models remind us of the girls portrayed in Fig. 100 ? In the last resort the distinction consists only in the fact that these ' beautiful heads ' are immobile, whereas the cinema ' beauties ' are dynamic. The search for ' photogenic ' types leads the camera-man of the bourgeois cinema to standard compositional constructions also, such as the average audience is considered to be ' accustomed to ', and corresponding to its conception of beauty. In the three photographs that follow we give shots from three German films. In every case the subject is the same : a young mother with her child (Figs. 102-104). The camera-men responsible for these shots knew only a single form of compositional construction for such close-ups. We can easily substitute the close-up of one film for another in a different film, and the spectator 179