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IG. 17. — Relation between height ft of viewpoint and height of horizon.
THE COMPOSITIONAL CONSTRUCTION OF THE SHOT
ig. 18. — Relation between height of viewpoint and height of horizon.
ilmed either against the light background of the sky and clouds or the dark background of the earth.
A change of camera viewpoint upward or downward is not only of decisive mportance in determining the height of the horizon, but also has considerable nfluence upon the spatial situation of the main object being filmed. This brings is to the question of foreshortening, which we must now discuss.
In the representational technique of the cinema, foreshortening is taken to nean the perspective situation of the object, in which, viewed from any angle, t is traversed by the plane perpendicular to the optical axis of the lens. When :he vertical and horizontal axes of the object exactly coincide with the plane perpendicular to the optical axis of the lens we can conditionally say that there will |3e no foreshortening in the image. In practice there is complete absence of foreshortening only in exceptional cases, when we photograph plane surfaces all jthe points of which are disposed perpendicularly to the optical axis of the lens. (But the usual shot of a three-dimensional object always involves the presence of a certain amount of foreshortening, sometimes so insignificant that it is imperceptible to the eye directly perceiving the image.
Owing to the influence of the perspective disposition of the objects over the { plane of the frame, foreshortening leads to a perspective shortening of the linear j dimensions of the object on the one hand, and on the other creates the impression that the object is being directed into the depth, or alternatively out of the depth of the shot. Because of this effect, foreshortening is one of the most powerful (expressive resources in the dynamic organisation of frame space.
By foreshortening the construction of the object in the shot, while following
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