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.
FIXED PATTERNS S3
poser desired us to see first? If not, how did he happen to mislead us and waste our time?
Where did our glances wander as we continued looking at the picture? Did they follow the lines which the cinema composer had mapped out? If not, what is wrong with his plan?
What part of the picture remains longest in memory? Does it coincide with the dramatic emphasis intended by the composer? If not, what caused the wrong accent?
Was the picture as a whole really beautiful to the eyes? If not, what made it displeasing?
Beginning with the first question, we may say that the attracting power of any portion of a picture depends upon many circumstances and conditions. For example, a patch of white on an area of dark will attract the eye, because it is natural for the eye to seek light in preference to dark. Hence, in the "still" from "Audrey" on page 45 we see the woman first; then we see the tree trunks, the reflections in the water, and the person half hidden in the bushes to the left. It is also natural for the eye to catch and follow the longest line in a composition. Therefore the trunk of the fallen tree in this picture helps to lead the eye to the woman. It is, furthermore, natural for the eye to follow two or more lines to a point where they meet. Therefore this picture would have given more emphasis to the woman if she had been placed near the root of the tree trunk, where many lines converge.
The spectator in the theater should be enabled to see the central interest at the very first instant of projection. Hence when the picture is being taken,