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.
7. ON CREATIVE METHOD AND STYLE IN THE ART OF THE
CAMERA-MAN
In previous chapters we have considered the elements of the compositional construction of the shot ; the change of set-up, change of camera-angle, foreshortening, lighting, optical design, margin or frame of the image, tone, and tempo of shooting in their significance for the expressiveness of the screen image. We have also established that the application of each of these compositional elements is dependent on the scenario and directorial requirements. Finally, we have come to certain conclusions as to the mutual interdependence of the editing composition of the film as a whole and the composition of the individual shot as an element of creative production.
When considering the tasks of composition of the shot in their organic connection with the theme and content of the film, we defined composition as the method of creatively organising the material, the method which enables us thoroughly to reveal and demonstrate the ideal significance of the art-images created.
These basic assumptions lead us to an understanding and confirmation of the creative role of the camera-man, who, with the representational resources of cinema technique, realises the compositional purpose of the film. For us the choice of viewpoint, foreshortening, camera-angle and so on ceases to be a technical process, and becomes a creative process from the moment when the camera-man begins to consider the object to be shot in association with the ideological and thematic task of the scenario, and through the specific features of the compositional form expresses his creative attitude towards the ideological and aesthetic compositions and images of the given film.
In various theoretical works on problems of film art, and particularly in the works of Boltyansky {Culture of the Camera-man) and Pudovkin (Film Director and Film Material) x the authors, while recognising the camera-man's creative role, at the same time assume that all that is required of him is a certain level of visual culture. In their view a developed visual culture, understood as an innate or acquired quality with corresponding training, ensures all the necessary conditions for realising the representational treatment of the film.
When such is the approach to the analysis of the creative factors in the camera-man's work, the existing differences in representational treatment of individual films shot by various camera-men are usually explained as being due to the individual peculiarities of visual culture, in other words to the individual ' manner of seeing ', peculiar to each of these camera-men.
1 See note p. an. — Ed. 215