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Camera and far we go close and instead of filming a building square to the enough back to approximate normal vision, shoot from below at an upward angle, then the building show the violent foreshortening we have described, and I. Thouless, op. 45 cit. will will THE CINEMA AS ART appear to tower above us, larger than life. A person filmed from the same angle will give an impression of force, power, majesty, was a constant device of propaganda films, and has been used again and again to add to the stature of dictators and tyrants.

Seen in a certain way, a frank expression can seem hypocritical, an inoffensive gesture threatening, a dwarf a sheet giant. of glass By filming a ballet dancer from below through a at a vertical angle, Rene Clair in Entr'acte makes her look like a flower. In Jack Clayton's The Pumpkin Eater, Jo's is made into a grotesque figure on his first appearance by photography which gives a distorted perspective of his face. In Joseph Losey's The Servant, Dirk Bogarde is made by camera-angles into a dominating, most unservant-like figure.

From modern films. emphasized contrast between foreground and background and one wonders whether, consciously or unconsciously, he was not influenced by the cinema. In passing it should be mentioned that the way in which the camera reproduces perspective will vary with the lens used. As a similar we have seen (page 48), a long-focus or a telephoto lens covers a small visual angle, destroys relief causes foreshortening by flattening the image, which can verge on the grotesque, and tends to transference of dimensions.

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