Dimensiunea scenografică în viziunea pictorului Anton Mater
The scenographic dimension in the vision of the painter Anton Mater

Summary/Abstract: The article highlights the establishment and evolution of Moldovan film, in terms of one of the aspects less addressed by the local filmology, but which contributes significantly to the creation of the film image. It is about the scenographic art, which means visualizing a story or telling a subject through images. Anton Mater was among the first to capitalize on the art of scenography in film. The artist participated in the creation of the first films of the Moldova-film studio: Melodii moldovenești (Moldovan songs), Baladă haiducească (Outlaw ballad), La marginea orașului (At the edge of the city). Later, he worked on some successful films such as: Ultima lună de toamnă (The Last Autumn Month), Podurile (Bridges), Gustul pâini (The Taste of Bread), etc., films that have become important in the evolution of the national cinematographic art. The peculiarities of the scenographic art of each film in which the painter Anton Mater participated and the importance of his experience in the development of the local film are elucidated. Coming from the world of theatrical art, Anton Mater always looked for the specifics of the filmic image, of the film scenography: of the scenery built live in nature, of the painter-operator correlations in the name of a conclusive image either subject of an era or of everyday life. Thus, the artist Anton Mater laid the foundations of the scenographic art of the autochthonous film.

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