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.
THE CINEMA AS A GRAPHIC ART
Fig. 127. — Shot from the film " The Conveyor of Death " (M. Gindin, cam.).
If you study the various shots taken by Gindin in "Conveyor of Death" you become convinced of his correct understanding of the principle of editing composition. Take in their editing context the close-up of the Fascist and the close-ups of the hungry workers, for example. Every shot individually reveals independent perfection of finish, while preserving the distinguishing features of the unit, the link of the editing composition. The theme of ' Fascism ', clearly expressed by the foreshortened representation of the Fascist in close-up, gives this shot a functional singleness of content, but this same theme is developed further in the compositional construction of the shot with the four Fascist standardbearers and in the mass scenes of the Fascist demonstration.
Within the limits of the same compositional theme, Gindin maintains the same foreshortenings throughout the entire episode, which he treats satirically.
The ' hungry ' are taken in a different construction, in harsh optical treatment and a news-reel style. The compositional theme is again maintained throughout the entire editing episode.
To show the yard in which the barrel-organ man is playing, Gindin finds a viewpoint which transforms it into a genuine stone cul-de-sac. And in consequence the lyrical motive at the basis of this scene is demonstrated all the more strongly.
Owing to such thorough compositional treatment, linked up with demonstration of the social element, in Gindin's work the shot acquires a perfection of finish allowing only one functional interpretation of the subject, and this circumstance actively directs the spectator's perception along the road required by the scenario.
In the shots of the suicide of the workers' family, Gindin uses an original method of lighting which, in combination with the dead statics of the symmetrically distributed figures, heightens the expressiveness of this scene. The dark room with bright patches of sunlight penetrating through closed shutters, the softly lit, almost silhouetted figure in the foreground give a completely different character to the perception, and operate more convincingly than the traditional manner of presenting terrible scenes in a completely darkened interior. Obviously it is not in the least a question of whether there is bright light on the face or not, but of how the light ray is functionally justified and exploited.
206