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Da sempre, da quando l'uomo
ha avuto la necessità di
esprimere i suoi pensieri, i suoi
sentimenti, le sue emozioni nelle
arti figurative, ha scelto di volta
in volta, uno spazio ben preciso e
delineato per farlo: il disegno, la
scultura, la pittura, il teatro, la
fotografia, la cinematografia, la
televisione, tutte forme d'arte
che hanno avuto ciascuna nella
propria area figurativa, una certa
dimensione, una certa
Proporzione, tra i lati che
'La luna" di Bernardo Bertolucci ripreso con rapporto 1,85:1
delineano il loro spazio
espressivo, dando così vita alla
parola: "composizione".
Una parola che solo per il fatto
di esistere, ha da sempre causato
una visione non realistica di
qualsiasi tentativo di
riproduzione della realtà. Solo
per il fatto della possibilità di
scelta di uno "specifico spazio",
in cui si è raccolta una porzione
di quella realtà, l'immagine
risultante è così stata, è, e
sempre sarà, una interpretazione
Since the very beginning, since the time that man first felt the need to
express his thoughts, feelings and emotions in the figurative arts, he has
always chosen a precise and well-defined space in which to do it, whether
it was Drawing, Sculpture, Painting, Theatre, Photography,
Cinematography or Television, all art forms which have, in their own
Particular figurative area, a certain dimension and proportion
contained within their expressive space, thus bringing the word
Composition" into being.
A word that, simply because it eocists, has always resulted in any attempt
at reproducing reality being seen as non-realistic. Merely became the
Possibility exists of Choosing a "Specific Space" in which a portion of that
reality is communicated, the resulting image has always been, and will
always be, a subjective Interpretation of that particular reality and,
therefore, must always be considered an Individual Expression.
And ever since the time that each visual form has utilized images
composed by man, divulging them through the "medium"for which they
were realized, even if in different dimensions, no conflict has ever arisen
within the expressive form itself, regarding the actual concept of
composition.
Films with varying ratios have always been made and projected, even if
with different compositional aspects, always respecting the original ratio
m which each film was realized, With this remaining constant, the
simple changing of a matte or substitution of a projector lens permitted
all Film authors to express themselves, composing their individual
1 mages according to the requirements of each film, beginning with the
smallest picture, created with a ratio of 1:1.37 (more generally known as
the 1.1:1.33 of the silent cinema), and moving through an entire series of
ratios frorn: 1:1.66 -1:1.75 -1:1.85 -1:2.21 up to the 1:2.35 of the wide
soggettiva di quel tipo di realtà e
quindi sempre e comunque da
considerarsi una espressione
individuale.
E da quando ogni singola forma
visiva, ha utilizzato le immagini
composte dall'uomo,
divulgandole attraverso il
"mezzo" in cui erano state
originariamente pensate e
realizzate, anche se in
dimensioni diverse, non si è mai
creato, in seno alla forma
espressiva stessa, nessun
anamorphic screen; always respecting, however, the Author's original
vision, his original concept for each specific project.
If it is true, and I believe it is, that in every era, one of the expressive
forms has always, in a specific moment in time, influenced the rest to a
certain degree, it would seem that in our era, without a doubt, it is the
Electronic Image which is influencing the rest of the figurative arts.
And I think it will have an ever greater influence very shortly, when the
High Definition Video System, the new television process, is introduced
and makes its presence felt As has been the practice for some time now, a
Film, whether it be great or small, a success or a flop, inspired or
mediocre, is first of all exploited commercially for a brief period in the
cinemas, and then for a much longer period on the electronic screen,
either in television distribution, or video tapes and discs, which are also
extremely handy for personal use, for keeping records, study, etc.
And it is at this point, when it is transferred from one "medium" to
another, that a Cinematographic Work, released by its authors via the
Answer Print which determines it as a Film, undergoes further
modification and, apart from the variations in colour and tone caused by
the different recording possibilities of the two media, and the different
overall dimension of the two images which necessarily elicits diverse
emotional reactions in the viewer, the original figurative structure and
this is particularly important, is altered
As the Cinema is a language of images, it is precisely in changing the
original composition of the Cinematographic "picture" that one
consequently alters the linguistic expression, the style and, indeed, the
Film itself.
One of the current banes of Cinematographic authors is the enormous
compromise that has to be made when composing an image, to meet the