The pictorial influence in the spatial representation of the cinema of the origins. The off-sreen relation from the cinema of Georges Méliès
DOI:
https://doi.org/10.24310/Fotocinema.2018.v0i16.4085Keywords:
Cinema and Painting, Space, Off-screen, Early CinemaAbstract
The influence of painting in the cinematographic image has been constant since the apparition of cinema until our days. This influence was, undoubtedly, more evident in early cinema, where the conception of space was absolutely linked with the idea of a painting, limiting the films’ posibilities and making their space limited and static. Although this pictorical heritage, during the first years of cinema, the use of the off-screen was generalized and, inspite of the limited posibilities of this early off-screen, it started to open the limits of the screen, anticipating the unlimited space in modern cinema. Georges Méliès was the best example of the idea of the film as a painting, but, also, used the off-screen so often, that he became one of the pioneers in the use of the absent space, anticipating the dinamism of modern cinema.
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