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CREATIVE PROBLEMS OF THE ART OF THE CAMERA-MAN
^presentational treatment of the film is concretely realisable by the creative sndencies of the given camera-man.
Administrative transfers of camera-men from one director to another without aking their creative peculiarities into account should be resolutely condemned in ood production practice, for they lead to the degradation of the creative group, nd, in the first place, to the depersonalisation of the camera-man as a
REATIVE WORKER.
At the same time, on its way to the mastery of creative methods of the utmost alue, the art of the Soviet camera-man is faced with the necessity to overcome till greater specific difficulties. The main barrier along that road is the inability >f many present-day camera-men theoretically and practically to conceive all the rariety of representational possibilities in cinema technique.
There are still strong vestigial tendencies towards passive reproductionalism n Soviet camera-man's art, and these have found their expression in the ' theory >f documentalism '. And vestiges of formalistic aestheticism are strong also. Rejection of deliberate expressive organisation of the material with the aid of ;ompositional resources, under the plea of ' greatest approximation to reality ', ind the replacement of truth in the representational treatment by superficial /erisimilitude, are a great obstacle to the development of a methodology of Soviet ;amera-man's art constructed on the new principles.
Even in the work of certain leading Soviet camera-men we not infrequently ind artificial separation of the rationalistic from the emotional, concretely sensitive element. The achievement of an organic unity in composition in which the rationalistic and emotional elements exist as an indivisible whole — that task of art is correct and confirmed by life itself. And it is achievable only in Soviet art.
The cinema is an art of enormous potential possibilities. It is an art created by a group, and the camera-man is entitled to a responsible and honourable role in that group. At the same time, by its very nature the cinema is a representational art, and this must never be forgotten. The cinema has acquired sound, but it has not ceased to be visual because of that. The cinema film exists only in visual images, and these images cannot be created without the organic participation of the camera-man.
" The property of genuine form," wrote Heinrich von Kleist, " is directly, immediately to transmit the thought. A weak form distorts it like a bad mirror, and reminds one of nothing except itself."
We stand for a form in cinematographic production which shall be of the fullest value and saturated with ideas.
We stand for the recognition of the camera-man as a true artist who in close co-operation with the creative group is engaged in creating the art of Soviet cinema.