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THE CINEMA AS A GRAPHIC ART
Fig. 109. — Shot from the film " The Battleship Potemkin " (Eduard Tisse, cam.).
the service of the newlv organised photo-cinema committee, N.K.P., in May 1918.
His period of work on news-reel shooting, from 191 8 to 1923, was most fruitful and important in his development as a camera-man, and determined the specific features and methods of his work.
During the events of those years he travelled from place to place, taking a great variety of films of historical importance (holiday parades, anniversaries, congresses, films of living conditions, of economic reconstruction, travels with Kalinin, and so on), in the uneasy circumstances of film work on various fronts (Czechoslovakian, Polish, Wrangel and Denikin), in the territories of Latvia, the Crimea, the Ukraine, the Volga basin, Siberia, the Caucasus, and in 1921 in the famine districts of the Volga.
Work in the highly varied and difficult conditions of the early years of the Soviet regime developed in him, as in many other news-reel camera-men, sangfroid, swift orientation, and audacity. From time to time he was entrusted with direct military and other responsible tasks in addition to his film work.
A gift for ' editing ' construction of news-reel subjects, and for preserving the unity of the ' editing ' conception in filming heterogeneous material are the distinguishing features of Tisse's work. From 1923 onward he took up storycinematography. His ' news ' methods of work, compositional brevity and expressiveness of shot distinguish his work from that of the camera-men of the old school. When he joined the Eisenstein group he retained the positive qualities
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