This study is to explore cinemagraphic and visual elements and their inter-relations through the reinterpretation of previous research and literature. The cinemagraphic elements of visual images (camera angle, camera motion, subject motion, color, and lighting) work as a language requiring a proper grammar for the messages to be conveyed in their most potent form. If the elements are ungrammatical they will create a dissonance that will negate one of the perceptual dimensions. Some elements, such as camera angles, work universally to affect potency and activity. They can also indirectly heighten or nullify perceived evaluation if the visual cues from the camera position (activity and potency) are not in harmony with the apparent activity of the subject. Some elements are very irregular and must be conjugated individually, as with lighting, which significantly affects evaluation but is much stronger when coupled with the person/object in question. Yet other elements act as modifiers that work only in the presence of other modifiers, as the panning shot that enhances the color perception affecting evaluation. Studies should be undertaken to explore the effect of observer involvement through the camera, the relationship of interest, stress, and the attitudinal and physiological scores, as well as lighting styles and their effects on the perception as recorded by the semantic differential. The visual elements of cinema may be simple tools, but they create a subtle and complex language that needs to be learned in order for its full eloquence to be used and appreciated. (HOD)