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COMPOSITION IN MOTION PICTURES
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the manner of presentation, made them fit to be exhibited in a concourse of photographic beauty.
There have been many "systems" of treating composition, but perhaps the best and most popular of them is that of Dynamic Symmetry. An excellent treatise upon this subject was written by Jay Hambidge, and is well worth reading by everyone interested in the more technical phases of pictorial art. The principles of dynamic symmetry can be used as well by cinematographers as by the painters and architects for whom the system was originally expounded. In cinematography it can be employed in arranging the compositions so as to conform to the dynamic lines and areas, which guides may very
Fig. 5 Time and Light — by Henry Goode. Attention directed to the booh.
profitably be drawn on the ground glass focussing-screens of the cameras.
Under any system, the cinematographer always looks for some dominant and characteristic angle, either of the grouping, or, if the shot is merely of a head, for some basic form suggested by the subject. He makes this the foundation of his plan of composition, and from it creates the fabric of the whole in like terms. The finished picture is, therefore, like a flower which has grown from a seed; it hangs together, and every feature is an outgrowth of the basic theme — the story. Dynamic symmetry is simply a system of charting composition within a given field by dynamic lines, and symmetrically placing the subjects accordingly. To the cinematographer, this field is the aperture of the camera, or, in the final analysis, the screen of the theatre. The artist of brush or pen actually draws a chart to work with; the cinematographer uses the same chart, but it is a mental chart, necessarily more flexible, and applicable to any and all subjects. With the coming of wide film a thorough understanding of