A systematic analysis of pictorial composition in motion pictures argues for treating cinema as a distinct pictorial art and focuses on what a picture looks like rather than plot or characterization. The author defines visual criteria—form, composition, light and shade—and offers practical tests for beauty, examinations of fixed patterns, rhythm and repose, and a sustained account of motions within the frame. Chapters illustrate pictorial motions at work, play, and rest, and suggest practical guidance for critics, audiences, and makers, using film and painting examples to demonstrate compositional strengths and weaknesses.