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92 CHANGING SET-UP
spectator, in which case he will, if he wants to convey the impressions of a frightened man, present the object at a distorting angle, lending the object a terrifying aspect; or if he wants to show us the world as seen by a happy man, give us a picture of the object from the most favourable, flattering angle. By such means is achieved the emotional identification of the spectator with the characters in the film, and not only with their position in space but with their state of mind as well. Set-up and angle can make things hateful, lovable, terrifying, or ridiculous at will.
Angle and set-up lend the pictures in a film pathos or charm, cold objectivity or fantastic romantic qualities. The art of angle and set-up are to the director and cameraman what style is to the narrator and it is here that the personality of the creative artist is the most immediately reflected.
ANTHROPOMORPHOUS WORLDS
Everything that men see has a familiar visage — this is an inevitable form of our perception. As we cannot sense things outside space and time, so we cannot see them without physiognomy. Every shape makes a — mostly unconscious — emotional impression on us, which may be pleasant or unpleasant, alarming or reassuring, because it reminds us, however distantly, of some human face, which we ourselves project into it. Our anthropomorphous world-vision makes us see a human physiognomy in every phenomenon. This is why, as children, we were frightened of the grinning furniture in a dark room or the nodding trees in a dark garden and this is why, as adults, we rejoice in the landscape which looks back at us with friendly and intelligent recognition, as if calling us by name. This anthropomorphous world is the only possible subject of all art and the poet's word or the painter's brush can bring life into none but a humanized reality.
In the film it is the art of angle and set-up that reveals this anthropomorphous physiognomy in every object and it is one of the postulates of film art that not an inch of any frame should be neutral — it must be expressive, it must be gesture and physiognomy.