The cinema as a graphic art : on a theory of representation in the cinema (1959)

THE CINEMA AS A GRAPHIC ART representational composition the elements most operative from the aspect of the given ideological content. Can we claim that the Soviet camera-man's art has already mastered the method of socialist realism ? On the whole such a conclusion would be premature. But undoubtedly the elements of the new understanding, the new attitude to his creative tasks are present in individual productions of the Soviet cinema. And this sharply distinguishes the work of many Soviet camera-men, from that of the Western cinematographer. In this regard we should mention, once more the latest work of the cameraman B. Volchek, the film " Boule-de-Suif " (directed by M. Romm). In this film, which reflects a definite historical period, Volchek was confronted with several ways of possible representational treatment of the material. He could have constructed his work in direct imitation of French pictorial art of the period to which the material of the film relates. In particular, he could have exploited the experience of the impressionist masters. Following the traditions of historical staging current in bourgeois cinematography, he could have !• exactly reproduced the compositional schemes of a number of pictorial productions belonging to the second half of the nineteenth century. He chose a different way. In his work we see a new understanding of the images of Maupassant, and this new understanding emerges in the representational treatment of " Boule-de-Suif ". A brief example. In the first part of the film, down to the moment when Boule-de Suif yields to the arguments of the patriots, all the portrait close-ups are given in a single-plane optical transmission. Compositionally the close-ups are constructed so that the genuine features of the patriots are not revealed. Then, in full accordance with the development of the subject and the change in the patriots' attitude to Boule-de-Suif, there is a sharp change in the camera-man's treatment. Volchek changes to asymmetrical diagonal constructions, to sharp foreshortening and harsh cut-offs of the close-ups. The lighting composition also changes, and thus the patriots' close-ups acquire the sharpness of satirical por j traits. But the softened optical transmission is retained for Boule-de-Suif. In other words, the motivation of the various camera-man's methods, which are directed to the demonstration of the true significance of the film images, is founded in the actual development of the action, in the actual ideological con ; ception of the object. In " Boule-de-Suif " the realism of the camera-man's work is determined primarily by a sound understanding of type images, treated from the present-day, socialist-realistic aspect. In all the films of Western cinematography we are hardly likely to find examples of such a differentiated approach on the part of the camera-man to the representation of the various personages in the film. In American films we frequently find shots in which details of the circumstances are transmitted with extreme exactitude, and the texture of the shot material is splendidly manifested. But is this realism in our sense of the word ? " Realism," says Engels, " in addition to accuracy of the details, implies a fidelity in the transmission of the typical characters in their typical circumstances." Realism in camera-man's art is not exhaustively achieved by the photographic transmission of shot space, real lighting and texture. The camera-man's work is consciously to manifest the characteristics of the living definite image. Like the director, in constructing the individual shot he should start from an integral understanding of the finished image. The 220