فصل الميزانسين ، التكوين ٢-a .. كتاب فهم السينما

major in the configuration. If the distortion is intended in the picture, as in a battle scene, for example, then the director deliberately puts weights in his composition in order to obtain this effect (2-11). However, Al Ain in general tries to unify the different elements into an organized formation. For example, even in an intricate design, the eye will connect similar sizes, colors, textures, and so on. The mere reception or color or suggesting a re-experience of these associations is a kind of “rhythm” that forces the eye to jump over the surface of the design in order to realize the balance of the size of the total line.

Fine artists often use the term "weight" to refer to the elements of a composition. The artist is often interested in distributing these weights harmoniously over the surface of his visual space in a perfectly symmetrical design - a design that we do not find.
I start in the cinema - the visual weight is distributed evenly and the center of the composition is the axis (2 - 7) and since most of the formations are not so symmetrical, the weight of some elements is often matched by an element of a different kind. The size for example corresponds to the weight of the color. Psychologists and art theorists have discovered that some parts of most formations have a mystical weight. Volflin, the German art historian, explained, for example, that we tend to read images from left to right if other formative elements are equal. Accordingly, in order for the image to be balanced, its weight must be increased to the left, in order to meet the inner weight of the right (2 - 12) The increase in weight to the left can be apparent and can be done accurately by making the person look towards the left only.

The upper part of the formation is heavier than the lower part. For this reason, we find that skyscrapers, columns, and obelisks shrink upward, otherwise the weight of their tops would be heavy. The image balance increases when its center of gravity is low by placing more weight in the lower parts of the screen. For this very reason, we rarely find a landscape split horizontally in the middle of the formation, as the sky then appears to be applied to the ground. Certain film directors such as Ford and Eisenstein stir up some of their most disturbing influences using this very method. They let the sky overwhelm its natural weight, so the earth and those on it appear to have been contained (2-13 )

Isolated objects and assets seem heavier than those gathered. Sometimes one thing balances out a group of equal things simply because it is isolated. In many films, the hero appears far from a hostile group The two seem somewhat equivalent despite the arithmetic differences. This effect is caused by the psychological weight of the protagonist while he is isolated.

Psychological experiments have shown that some lines suggest directed movement, and although the horizontal and vertical lines seem “static”, in the event that a movement is detected, the horizontal lines tend to move from left to right and tend Diagonal lines are vertical lines to move from bottom to top. Naturally more dynamic and in "transformation" and also tend to move upwards. These psychological phenomena are important for the visual artist, especially in film making, as the material of the subject matter or the dramatic context is often not connected to some influences. For example, if the film director wants to show us the inner emotion of a character in a quiet context, he can express this state through the dynamic use of the line. The image composed of intense slashes can suggest the inner hustle and bustle of the character, although there is no apparent drama in the given context.