Strictly speaking, a silhouette shot is a shot in which the object in the forground is darker than the background. In cinema, skillful manipulation of lighting can greatly vary the brightness between forground and background objects and produce a dynamic range that affects our viewing experience. A semi-silhouette shot is produced when the foreground object isn't completely dark (remember that lighting set up in Stray Dogs (1949) in Cinema Silhouette #5?). A standard technique of dramatic lighting in classic Hollywood, semi-silhouettes can also be found in cinema from all over the world. I'm fond of the look and so I keep my eyes peeled for it. Recently, I noticed variations on semi-silhouette all over Léonce-Henri Burel's frosty cinematography for Robert Bresson's solemn directorial masterpiece, Journal d'un curé de campagne (Diary of a Country Priest 1951)-- particularly in scenes wherein the constancy of the ill, dejected young Priest (Claude Laydu)'s faith is severely tested.