The Perspective Of The Close-up

Approach the universe of science, trying to compose a "poem", and not just tell a "story".

Let us consider two examples that will probably better clear up the relationship between the two directors, Griffith and Eisenstein, and will allow us, later, to better understand the genius of Eisenstein’s work. The Close-Up was therefore not an "invention" of Griffith. Edvin Porter used it, as a technical means, making a bandit shoot in the close-up, towards the viewers. This caused a sensation and nothing more.

But Griffith used in a film the close-up of a woman waiting for the return of her husband, followed by the image of the one she was waiting for. This alternation caused storms through its unusual nature.

- How can the subject be torn, he was asked, with such jumps? No one will understand a thing.

- But Dickens, answered Griffith, did he not write the same way?

- Yes, but, he was Dickens; he wrote novels and that was something else entirely.

- The difference is not even that great, I write novels in pictures.

However, Griffith’s close up was tied only to a way of seeing, by the physical conditions of the way in which you can see a character: namely, from up close.

Eisenstein will use the close-up not to show something specific, but rather to represent. In other words, he doesn’t simply watch a cheek or an object from up close, but rather uses it in that aspect to express an idea, to give it a new meaning. Griffith tells a story, Eisenstein composes a poem. *

Can you distinguish a new dimension of revisionism from the horizon of an experience that needs to be frequently fueled through the intervention of a particular achievement?

The ideal and profound sense an artist seeks in the process of elaborating new concepts, turning leadership into a sort of stage design – a way of thinking up an image over the real world, or an image of man reflected in the world, based on a fixation of science over an omnipotent fact, is transposed at the level of experiencing his existence.

The artist himself turns into a first impact on the phenomenon of representing a large picture and, more so, on the evolution of approaching the way in which he sees and perceives "what he knows" in the vastness of the information surrounding him. This image captures the significance the artist attaches to the act of creation along the line of conduct of a man who knows how to communicate with what others see in him.

The content of the message you supply to the entire world, becoming the main subject, the equalizing force of assumptions, often subjective, related to the organization of the real, which can lead to a new form of art, remains bound to the complex representation of the close-up. It's about the thinking self-directed towards a finality of revelations that satisfy the conditions of an ideal of knowledge springing from the experience of research, from the very substance of those previously assimilated.

Revisionism is a form of belief in a finding that turns into amazement: the feeling of being in front of a reality often ignored by the world, but opens the way to the ideal greatness of an explicit reality. It is about giving meaning to that thing, incident or phenomenon, from which draw certain subject values those basic attributes resulting from the perspective of what you see and the way in which you explain what you want others to believe.

Does the way you represent a point of view in a composition of great expressive resources reflect a central point of the extended self-esteem that you experience through what makes you different?

Leadership continues its advance towards a more precise modeling of facts that need to be revealed through meanings, based on objective representations, with the help of technology and information, in various contexts of affirmation of the power of creation, not only if you "tell a story", but rather if you manage to "compose a poem".

Therefore, the close-up is tied not only to a way of seeing, not only to the physical conditions of the way in which a certain subject can be approached from up close. But rather it represents the result of the synthesis of an entire experience, the consequence of an extraordinary accumulation of notions and concepts, a model of defining science connected to a significance attributed to a peculiar achievement, thus completing the area of continuity between creator and receiver.

The attitude or action that follows the reviewing of concepts pertains exclusively to the artist who, like a collector that is so passionate about enticing objects sits for hours on end in front of them to better penetrate their mystery, builds his work through arguments that comprise of reasoning and evidence concerning the relationships between image, ideal and reality.

An extended self-esteem is obtained through the content of reason to transpose yourself into an artist who no longer cares about his own creation, though concrete, living by the only thing that makes him different from the rest of the world: capitalizing on the original spectacularism of a masterpiece in a sustainable life lesson.

The Perspective Of The Close-Up is generated mainly by the elite performers who constantly probe the hidden depths of being and the world, through science, in order to obtain not only a different meaning for existence. But also, to clarify for themselves the experienced truths, through others, in their own way.

* Note: Ion Barna - Eisenstein, Youth Publishing House, 1966.