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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 Melies 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.

La influencia pictórica en la representación espacial del cine de los orígenes. La relación campo-fuera de campo desde el cine de Georges Méliès