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TELEVISION PROSPECT I77
first essential is to produce images that are well composed within the frame, suitable to its proportions and balanced in terms of the matter in hand. Movement must be relevant and purposeful, and, in a sequence of scenes, smoothly related. Camera movement, changes of viewpoint, fades and dissolves must all be determined by the content and intention of the sequence or programme, as must the use of sound of all kinds. In brief, individual scenes, and scenes in their relation to one another, must be well-knit and balanced, both visually and aurally.
This is, if you like, the very rudimentary grammar of a motion-picture medium. And in B.B.C. television there are still plenty of people who are not sure of their grammar ; so that the cameras track about the studio for no discernible reason, or the image cuts from a nearer to a distant view without purpose. In feature programmes, especially, the sense of the composition of figures within the frame is often lacking, and the choice of viewpoint seems unconsidered. At times the overwhelming interest of what is seen can dominate all considerations of balance and form ; yet there is no need to rely, usually optimistically, on this. There should be no difficulty in finding producers and cameramen with a sense of picture. Even in the most stagey secondfeature film, someone with pictorial ideas is to be found in the unit ; though the director may be no more than a director of acting, his editor and cameraman can usually tell him how to shoot the film so that it balances and will cut together. The same should be taken for granted in television ; and once every sentence of a television programme is 'grammatically' constructed, it will enormously tauten and improve the dullest material.
No part then of the sum effect can be neglected without loss of power. But the interpretation of this principle is infinite, distinguishing and differentiating the artists of film and television alike. If at times it can be ignored, this can only