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 #:
000207
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 editing pieces without being given a clear compositional perspective, and this undoubtedly reacted on the efficacy of the scenes mentioned. While during the early years of development of the Soviet camera-man's art his creative efforts tended mainly in the direction of seeking representational methods, it is now possible to speak of his active work on the art-images of the jfilm as a whole, and here he most closely approaches a creative unity with the director. From the aspect of this transition to new creative positions the ' first swallow * was the film " Counterplan ", (camera-men, I. Martov, A. Ginsburg and V. Rapoport) and then Gordanov's work in the film " The Storm ". The representational treatment of " Counterplan " is built up of light, optimistic tones. The portrait close-ups are all treated realistically, without sharp abstract foreshortening and compositional pretentiousness. The camera-men's work is directed primarily towards manifesting the character of the actor's image. The same tendency is at the basis of the camera-man's treatment in " The Storm ". rlG. 129. — Shot from the film " Boule-de-Suif " (B. Volchek, cam.). 'IG. 130. — Shot from the film " Boule-de-Suif " (B. Volchek, cam.). 209