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256 RUDY BRETZ March
An intercut shot in a film can be used to separate two shots that do not match and cannot be cut together. A smooth continuity results. Moreover, the film audience does not mind being taken away momentarily from the primary action, because it knows that the film editor has included the rest of the scene in the reel, and that it is not going to miss anything. The television viewer, on the other hand, feels no such certainty. He is afraid, while he is watching the frenzied fans jumping in the stands, that he is missing something going on down on the field. The same is true of audience participation shows, comedy shows, variety shows and many other kinds of spontaneous programs. If intercut shots are to be used at all, they must be used at a time when nothing of importance is likely to happen elsewhere, or they will not be what the viewer wants to see.
A dramatic show is much more akin to a film in this regard. The thing is built and presented as a whole. It is not segments of reality, and the audience has no fear of missing anything.
All of the cinematic techniques are applicable to television dramatic shows, if they can be physically accomplished at all. Intercutting of extraneous shots for purposes of contrast, irony, flashback, etc., can be accomplished as well in television as in the film medium. These techniques are analyzed in such books as Rudolf Arnheim's Film, Raymond Spottiswoode's A Grammar of the Film and Ernest Lindgren's The Art of the Film.
Length of Shot
Among people who don't know too much about the art of cutting, there is prevalent a misapprehension that a lot of cutting increases the tempo of a production. This is carried so far that statements like this have been heard: "There should be a cut at least every 20 seconds in order to keep audience interest." This is by no means always true. A shot should be as long as the proverbial piece of string. Tempo is not controlled only by the rate of cutting, except perhaps in newsreels or documentary films. For instance, in the newsreels or in the "March of Time," films which are built from a series of more or less disconnected shots, scenes of three or four seconds in length are standard. A shot containing action should be continued as long as necessary to complete the action, or cut as short as possible, one might rather say, without losing any of the action. "The True Glory," a war film made from thousands of stock shots taken by a great number of Signal Corps cameramen, was cut to a very rapid