Various codes of expression have, nevertheless, been shown to operate naturally or to have been inculcated, and their effects can be calculated.
Such codes and effects occur in all aspects of moviemaking and can most readily be categorized into those affecting cinematography, editing, sound, the script, acting, and design.
Although some theatres in the 1970s were enlarged and widened to accommodate 70-mm images, a trend toward smaller theatres fixed the image ratio close to 1.85 to 1 in the United States and 1.66 to 1 in Europe.
The moderate elongation provided by the Academy ratio has proved most versatile for achieving standard compositional effects.
Jean Cocteau, for example, called the cinema “picture writing.” The language of motion pictures, however, is not the language of words, even though spoken dialogue has been an integral part of motion pictures since the late 1920s, and written captions were usually required to explain the action before that.
It is primarily in the qualities of its images and sounds that the expressivity of the cinema must be sought.
Fourth, there are the peculiar advantages of either colour or black-and-white photography that can be exploited.
Finally, through the cinematographer’s skill and knowledge of laboratory processes, other highly expressive techniques can be achieved.
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Certain basic traits of motion pictures may operate with the logic of natural language, but few theorists have held that cinematic expression follows rules like those of natural language.