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6. STATICS AND DYNAMICS OF SHOT COMPOSITION
The dynamics of any shot may be displayed by means of the direct mo1ment of the object in the shot (or the movement of the camera viewpoint in retion to the object), and also by a suitable form of compositional construction f the static object. In the first case the predominant factor in the dynamics f the shot will be a direct kinetic movement. In the second case it will be a potttial movement of representational forms static in themselves, and expressed al emphasised by the compositional construction.
This division into the kinetics of the shot and the potential movement [ representational forms essentially static is only abstracted for the purpose I analysis ; for the conception of the dynamics of the shot is itself a generalisatii embracing both the elements of kinetics and the elements of compositional mov ment of representational forms. In addition, in all cases the dynamics of t; separate shot is bound up with the dynamics of editing composition, apart fro which there cannot be correct determination of the movement inside the sh<
In regard to the question of movement in the shot, we consider it mc: essential to define those main methods of dynamic organisation of the shot whi are of practical importance for the camera-man. If the camera-man has i definite idea of the main principles of dynamic construction of the shot, t kinetic movement usually develops into a primitive muddle. This is especial the case when he is faced with the task of planning a mass scene with intensi movement. Not infrequently the massing of two or three hundred people h much less expressive effect upon the spectator than the correctly organised mov ment of twenty to thirty persons.
Consideration of the eight schemes of direction of kinetic movement with the shot given in Fig. 59 will lead us to determine two factors. The first is tl direction of the kinetic movement in relation to the frame limits. This directic is marked by an arrow. The second is the direction of the kinetic movement relation to the static surroundings serving as background for that movemer The composition of the static surroundings is formally indicated by parallel lin in the schemes.
In the first scheme the static background is composed along one diagon of the frame, while the movement of the object is in a direction contrary to tb diagonal. The dynamic tendencies are sharply emphasised, on the one hand t the contraposition of the object's movement with the composition of the bad ground, and on the other by the conflict between the direction of the movemei and the sides of the frame.
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