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CREATIVE PROBLEMS OF THE ART OF THE CAMERA-MAN
:gard him as only an ' inevitable evil ', standing between the director and the :reened film.
While the director is able to work over the material in detail during the reparatory period, the camera-man has to decide highly complex compositional isks of shot construction not on the basis of the scenario content, with which sually he is acquainted only superficially, but in accordance with the director's erbal instructions, at the actual moment of shooting. That is why in the boureois cinema we frequently meet with cases where the camera-man has exploited ichnical methods of shooting without taking the director's scheme for the shot lto account.
As a result of this attitude, in formulating the compositional tasks of the shot le camera-man is guided not by its functional task, but by the aggregate of supercial features of the material. In other words, he does not try to convey the idea nd theme expressiveness of the shot, but is satisfied with a representation of the hot scene in a form dictated by the formal elements of the object shot.
In constructing the shot he takes as his starting-point not the function of the iven editing piece, but only the representational elements of the material, and ries compositionally to ' formalise ' them into something whole and complete, n his search for new and original methods of formalising the material as such, e makes an excursion into the museums of old pictorial arts, demonstrating a Rembrandt ' lighting effect or parading an impressionist play of light and shade. Naturally, effects of this kind, organically unconnected with the content of the hot, in other words with its editing function, are in the majority of cases only elfsufficient pictorial effects.
The book already mentioned, Rudolph Harms' " Philosophic des Films ", hus defines the tasks of the camera-man :
His task is to paint the picture with the aid of the camera lens, emphasising the depth, solating the forms, deepening and softening the sharpness of their situation, catching the intervening shades between the most brilliant light and the most complete darkness, and, vhile doing all this, making a clear picture distinct in all details, which may be soft and luid, but must not be indistinct, may be sharp and emphasised, but must not be excessively larsh and distorted.
This definition perfectly expresses the principle of superficial ' cinemabrmalisation ' which lies at the basis of the nonSoviet camera-man's work.
Thus the present-day bourgeois camera-man, who not infrequently rises to he level of great formalistic perfection, with all his achievements still remains Dutside the framework of the specific features of cinematic expressiveness. The creation of shots of ' genius ', of model ' pictures ' in the film, of which the dismity with the succession cannot be overcome either by the unity of action or by :he unity of the images — such is the result of the bourgeois camera-man's striving :o achieve ' independent ' creation despite his suppression as a creative colleague.
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