edge and ends near the center, than if it begins at the center of the picture and passes out at one side.
This observation regarding the shifting of balance during pictorial action raises the question whether it is a practical possibility to keep the composition of a cinema scene steadily in equilibrum for minute after minute. Since the fixed accents do not change their positions and the moving accents do, one might suppose that the scene must sooner or later fall out of balance. But this is not necessarily so. It is true that if, for example, there is a group of fixed accents in the left half of the picture, and a single figure starts from the center and passes out of the scene at the right, it would tend, first, to over-balance the right side of the picture, and then suddenly to leave it without weight. But this tendency may be counter-acted by swinging the camera slightly to the left without stopping the exposure. Such an expedient would shift all of the fixed accents together, though at the cost of introducing a momentary false motion. The ingenious director may find other means by which to compensate for the changes which must of necessity come about in a cinematic composition. However, when it is not possible to have good proportion and balance at more than one moment of a changing scene, that moment should be at the pictorial climax, the crucial point of that scene, the instant when the spectator is to receive the strongest impression, the greatest stimulation and yet the most perfect repose.
Equilibrium is reposeful because it is characteristic of a thing at rest. To say that another characteristic of a thing at rest is that it stays where it is, may sound like an Irish bull; but we say it, nevertheless, in order
