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CREATIVE PROBLEMS OF THE ART OF THE CAMERA-MAN
icall the former pictorial qualities of pre-revolutionary art-photography. But in C.B.D. ", and still more in " New Babylon ", the considerable evolution the group ad made is evident. From complete rejection the significance of the artistic ;gacy of pictorial art in representational treatment of the film, he turned to thorough xploitation of pictorial experience, and particularly set himself to master various lethods of impressionist lighting treatment.
When we came to work in the Soviet cinema [said the director, G. M. Kozintsev, 1 a speech at a conference of Leningrad camera-men], we found the Leningrad cinema actory full of historical pictures taken on a naively naturalistic principle.
All the generals, Tsars, soldiers, etc., were shot primarily in order to emphasise the roducts of the costume department of which the factory was so proud. They shot the ostumes, with the actors inside them. That was the basic attitude of the time.
Now we wanted primarily to replace this parade of historical costumes in the surface >arts of the films by a feeling of the epoch, in other words purposively to replace it with general style, and not the naturalism of details. From the camera-man's viewpoint we vere interested in obtaining photography that should be extremely picturesque. We vanted to get away as far as possible from the external form of the costume, we wanted o convey to the audience the atmosphere of the epoch. It was on this basis that we made [ Soldier's Coat ", " C.B.D. ", and " New Babylon ". We spent a good deal of time over he photography. The false aspect of the costumes, the feeling of costumed, unreal >eople began to creep into the foreground. To dispose of this we began to apply softening enses. Moskvin even photographed long-shots with portrait lenses.
In planning those tasks which confronted us, we succeeded in getting rid of ' cosumery ' and in revealing the atmosphere of the epoch. At once spots appeared instead )f lines. The spot became the basic element at the expense of the graphic. The graphic element was eliminated entirely.
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Fig. 120. — Shot from the film " The Youth of Maxim " (Andrei Moskvin, cam.).
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