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90 CHANGINGSET-UP
well. The set-up of the camera betrays the inner attitude of the man behind the camera.
Even the most faithful portraits, the best likenesses, if they are works of art, reproduce not only the sitter but the artist as well. A painter has many ways of painting his own self into his pictures. Composition, colour, brushwork all show at least as much of him as of the objective reality he depicts. But the personality of the film-maker can manifest itself in one thing only : the set-up, which also determines the composition of the shot.
SUBJECTIVITY OF THE OBJECT
Every object, be it man or beast, natural phenomenon or artefact has a thousand shapes, according to the angle from which we regard and pin down its outlines. In each of the shapes defined by a thousand different outlines we may recognize one and the same object, for they all resemble their common model even if they do not resemble each other. But each of them expresses a different point of view, a different interpretation, a different mood. Each visual angle signifies an inner attitude. There is nothing more subjective than the objective.
The technique of the set-up renders possible the identification which we have already met as the most specific effect of film art. The camera looks at the other characters and their surroundings out of the eyes of one of the characters. It can look about it out of the eyes of a different character every instant. By means of such set-ups we see the scene of action from the inside, with the eyes of the dramatis persona? and know how they feel in it. The abyss into which the hero is falling opens at our feet and the heights which he must climb rear themselves into the sky before our faces. If the landscape in the film changes, we feel as if we had moved away. Thus the constantly changing set-ups give the spectator the feeling that he himself is moving, just as one has the illusion of moving when a train on the next platform starts to leave the station. The true task of film art is to deepen into artistic effects the new psychological effects made possible by the technique of cinematography.