camera "shoots" in a level line, because in ordinary every-day life we see more motion near the bottom of our view than anywhere in the upper levels. Besides it is natural that weights should be kept low; any object is more likely to be in equilibrium when its center of gravity is low. But when we are shown a motion picture which has been made with the camera pointing downward, so that a level thing, like a plain or the surface of the sea, appears standing on end, then we like to see the points of interest so distributed that the various parts of the screen seem to be proportionally filled. Thus in a motion picture of a lake taken from a high cliff we are not pleased to see moving objects, boats, swans, etc., only in that area of the picture which comes near the lower edge of the frame. We realize instantly that the objects are not actually above or below each other in the air. And we forget, therefore, that the screen is really in a vertical plane and think of it rather as we would of a map lying before us. In fact, if there are swans in the near part of the lake view, then the distant surface of the lake will not appear to sink back into its proper level unless it bears some balancing weight and value, say, two or three small boats under sail.
However, even the best of balancing in a separate scene cannot insure a balance between that scene and the next one. Directors are often tempted to make shots from odd angles, straight up or straight down, and to scatter them through a film, showing, for example, a skyscraper lying down, or a city street standing on end. But the resulting series of scenes does not make a composition pleasing to the eye. It gives the effect of wabbling. Even if these oblique views show no
