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Documentary Films
In documentary films the relationship between the work of the writer, director and editor was completely different from that of the general film. The writer had a much vaguer idea of the exact appearance of the actual scene. He might know what the ultimate effect would be, but he could not give directions for achieving it in the same way as he could when writing a scene with directions as to voice pitch and gestures, or with sets built to specification.
The writer of an ordinary script could indicate so exactly what he wanted that he did not need to be aware of the finer points of editorial work. But the vaguer images of a documentary writer required a very exact grasp of editorial detail in order that he might more accurately discipline the construction of his scene.
Fig
[Courtesy of London Film Productions, Ltd.
2. The Count and Lacenaire meet. From " Les Enfants du Paradis."
Integrated Work
The well-made studio film had readily ascertainable and evenly balanced components. But the documentary film needed much editorial knowledge by the writer to compensate for the more fluid script. Thus the function of writer, director and editor overlapped far more in making documentary films. In fact it was not possible to make fine distinctions in designating their various activities.
The process of overlapping was found at an extreme in campaign films such as " Tunisian Victory." Not until the end of the campaign was it possible to plan a coherent account ; in other words, the rushes were all delivered before the script could be written. A rough assembly of all available film was the pre-requisite to creative writing. Thus the work of the writer, director and editor became completely identified.
To attain dramatic interest the greatest variety and use of commentary was made. Sometimes it was in unison with the images, sometimes in complete contrast, and sometimes (best of all) non-existent.
Great Innovators
In film making it was a truism that one had to be continually striving for improvement and constantly searching for novelty. It applied to editing as much as any other aspect.
The techniques of the early film makers were revolutionised by the innovations of D. W. Griffiths, and of Eisenstein and Pudovkin. During the thirties film makers like Capra and Ford tended to reserve the use of single close-ups for moments of great dramatic importance, and to play scenes between two people in " tight twos." Many examples of developments of technique could be quoted, but the achievements of those directors to whom reference had been made acted as a starting point for discussion.
An innovator might shock many people, but if he were a sincere artist his work would make an impression and a contribution to film artistry. It would set a milestone. The general public might be suspicious of something quite different, but they were affected by it. They might turn in