screen can do it as easily as not. Those who remember "The Front Page" will recall the unique effect produced by Lewis Milestone when he panned his cameras down successively on the faces of the reporters--bringing the material in from the bottom of his screen. It produced an eerie sort of jack-in-the- box sprightliness. I have not seen it essayed since.
At all events, no director seems willing to investigate all this. Some will use the effects as stunts, but few will attempt to find out exactly what the reaction is and, hence, exactly what legitimate use such refinements of camera work have outside their stunt value. When we use them correctly such things will stop being magic-lantern stunts and will become a real part of our cinema language.
|1.||Variations from the normal camera angle (four feet, six inches above the floor) should not be made except to obtain a necessary effect.|
|2.||Most of the scenes in a picture should be medium shots.|
|3.||The chief value of the long shot is to give the setting of an event.|
|4.||The chief purpose of the close-up is to call your attention to some otherwise unnoticed object, person, or action.|
|5.||The good director will use a variety of shots--long, medium, and close-up.|
|6.||The use of double exposure (two pictures one on top of the other) is especially valuable in showing what a character is thinking about.|
|7.||A " flash" shot should be used to give the spectator a quick mental image of a face or some object.|
|8.||The fade-in and fade-out may logically be used where there is|