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THE COMPOSITIONAL CONSTRUCTION OF THE SHOT
Fig. 59. — Plan of directions of kinetic movement in the frame.
In the second scheme this conflict between the direction of the movement nd the composition of the static background is absent, and because of this there /ill be less dynamism revealed in the frame.
In the third scheme we have the same composition as in the second, but it b along the contrary diagonals. The fourth scheme gives a composition analogous
0 that of the first, but also along the contrary diagonals. In the fifth scheme he composition of the background is in a direction parallel to the direction of he horizontal sides of the frame. But the movement occurs in a direction parallel to the vertical sides. The movement will be expressed in a weaker form •y comparison with the first scheme, for the conflict between the direction of (he movement and the composition of the background is obscured by the parallel qualities of the frame sides.
1 Finally, we get the weakest demonstration of dynamism in composition in he schemes six and eight. Here the movement flows parallel both to the sides »f the frame and to the direction taken in composing the background. The eventh scheme is analogous to the fifth.
Thus we get the greatest expression of dynamism in those forms of diagonal iomposition of the movement in which the static background is composed along ihe contrary diagonal. And we get a weakened effect if the direction of the aovement is paralleled either by the frame sides, or by the composition of the background.
Only when the subject motivation of the movement is defined with suffiient clarity can the camera-man select one or another scheme of movement in ompositional construction. It far from always follows that the purpose of the hot involves the necessity to seek the greatest expression of dynamism. In iertain cases the needs of the narrative demand a weakened dynamic effect, and ;hen he must use a composition that will satisfy this particular scenario and iirectorial demand.
The second method of revealing the dynamics of the frame arises from those types of compositional construction in which the dynamic tendencies are revealed p the potential movement of representational forms which in themselves are ssentially static. Into this category come first and foremost foreshortening onstructions. By their very nature such constructions presume the presence of dynamic tendency, carrying the object out of the stable equilibrium of the tatic strictly horizontal or vertical composition.
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