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while touches of recession coaxed the eye to the important material (Fig. 6.10). Danish films began to use corners, rear doors, and entrances and exits close to the camera.°2 Jon Gartenberg has shown that by 1907 directors at the Vitagraph studio had created a sharper sense of depth in interiors (Fig. 6.11).33 Well before 1906, however, filmmakers had explored yet another powerful recessional schema. Movement between background and foreground, exploited in the chase genre as well as in such rare cases as the scramble of Méliés’ journalists (Figs. 6.8, 6.9), proved to be a simple way of guiding attention. Making action thrust diagonally to the foreground is a very old principle in painting, but moving pictures gave it a new force. From Lumiére’s train onward, depth-through-movement characteristically presented action coming from back to front, and this proved a very advantageous schema. Movement toward the camera is perceptually salient simply as movement. It also tends to present the front surfaces of people and things, and frontality is another attention-getter. A figure moving forward may occupy the center of the frame, and even if it pursues a diagonal trajectory it is likely to pass through the central area. To-camera movement also gives the shot an internal trajectory, with the gradual enlargement of key elements attracting and holding the eye. Directors eventually discovered that this arc toward greater visibility could be complemented by a movement from the foreground to the background, the diminishing figure that signals the end of a shot, a scene, or an entire film. Within narrative cinema, forward movement gives us more time to identify the participants in the action than lateral movement does.*4 In chase films, the diagonal staging allows us to see several participants clearly in three-quarter views for a sustained period—something not possible if they were to run straight from left to right. Forward movement also accentuates narrative de
ON STAGING IN DEPTH
6.11 In Foul Play (1907), a courtroom scene is staged washes Jesus’ feet in a planimetric, painterly composition, in a corner, creating many recessional planes. Compare but the watching women on the left occupya recessional the courtroom in Fig. 6.6. diagonal that ends on the principal plane of activity.
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