We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
Ph!FiG
THE COMPOSITIONAL CONSTRUCTION OF THE SHOT
1 3D. — The viewpoint is shifted to the right and nearer to the building. The right arch is differentiated from the others by disproportionate enlargement, and becomes a dominating factor in the composition.
Fig. 13E. — The viewpoint is lowered. The building is thrown backward and its architectural unity is lost.
A
Fig. 13F. — By raising the viewpoint above the average height we get Fig 13F. The statue is thrown against the background of the columns, and the building as a whole loses its monumental quality.
An illustration of the above is a man moving across the screen, with a street and houses motionless in the background.
Second Example. — The viewpoint is motionless, the shot showing a static 'foreground object and dynamic background. The dynamism is conveyed by the movement of the background alone, and so it becomes the basic compositional 1 factor, and is continually changing throughout the shot. In choosing our view-point the first thing we have to consider is the change of background, and the position 1 of the new objects coming within the frame of the shot during the shooting process.
An illustration is a man standing motionless in the foreground, with his back to the camera. The background is formed by a procession passing across the screen. New persons are continually coming into the shot, passing out beyond the frame limit.
Third example. — With a moving-camera viewpoint, the shot shows a motionless foreground object and moving background. If the background moves in the
4i