Abstract As a complementary condition to narrative, the notion of pictorialism in film is rooted in the first decades of the medium. In their quest to demonstrate the capturing and restoring of images with various devices, early filmmakers selected views with pictorial qualities in the long-standing tradition of painting, transferring them on film in the form of non-narrative shots. The evolution of fictional narratives in silent cinema displaced the source of inspiration in theatre, assimilating its nineteenth-century tradition of pictorialism. Thus, the film audiences’ appeal for visual pleasure was elevated with balanced elements of composition, framing and acting that resulted in pictorially represented moments actively engaged in the narrative system. The paper explores the notion of “pictorial spirit” (Valkola 2016) in relation to that of “monstration” (Gaudreault 2009) aiming to describe the narrative mechanism of provoking fear by means of pictorially constructed cinematic images in a selection of short-length horror silent films belonging to the transitional era, consisting in The Haunted House/The Witch House (La Maison ensorcelée/La casa encantada, Segundo de Chomón, 1908), Frankenstein (J. Searle Dawley, 1910) and the surviving fragments of The Portrait (Портрет, Vladislav Starevich, 1915).1

中文翻译：

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清音尖叫：作为恐怖无声电影叙事策略的绘画主义

摘要 作为叙事的补充条件，电影中的图像主义概念植根于媒体的最初几十年。为了展示使用各种设备捕捉和还原图像，早期的电影制作人在悠久的绘画传统中选择了具有图像品质的视图，以非叙事镜头的形式将它们转移到胶片上。无声电影中虚构叙事的演变取代了戏剧的灵感来源，吸收了其 19 世纪的绘画传统。因此，电影观众对视觉乐趣的吸引力因构图、取景和表演的平衡元素而得到提升，从而使图像表现的时刻积极参与到叙事系统中。