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 #:
000203
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
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CREATIVE PROBLEMS OF THE ART OF THE CAMERA-MAN ig. 125. — Shot from the film "The Conveyor of Death " (M. Gindin, cam,). riG. 126. — Shot from the film " The Conveyor of Death " (M. Gindin, cam.). Df the shot, all that can serve as material for artistic generalisations by means of mtra-shot composition. In the " Conveyor of Death " Gindin has taken as basis a study of the German revolutionary artists Gross, Zille, Kollwitz and others, and a detailed acquaintance with German documentary photography, and on that basis has made shots noteworthy for their saturation with ideas and their logical composition. What would there appear to be in common between the documentary photographs of Kurt Tukholsky or the Berlin ' A.I.Z.' and the camera-man's tasks in the film " Conveyor of Death " ? Yet study of this material and its intelligent exploitation have aided Gindin in the compositions of this film to catch and recreate the characteristic features of Berlin working-class districts, the circumstances of the workers' quarters, etc. Here we undoubtedly have a sound method of exploiting documentary material — a method witnessing to the camera-man's correct understanding of his creative tasks (Figs. 123-127). 205