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Flaherty once maintained that the east-west contour of Canada was itself a drama. It was precisely a sequence of down, horizontal, 450 up, and down again.
I use Basil Wright as an example of 'movement in itself' — though movement is never in itself — principally to distinguish those others who add either tension elements or poetic elements or atmospheric elements. I have held myself in the past an exponent of the tension category with certain pretention to the others. Here is a simple example of tension from Granton Trawler. The trawler is working its gear in a storm. The tension elements are built up with emphasis on the drag of the water, the heavy lurching of the ship,, the fevered flashing of birds, the fevered flashing of faces between waves lurches and spray. The trawl is hauled aboard with strain of men and tackle and water. It is opened in a release which comprises equally the release of men, birds and fish. There is no pause in the flow of movement, but something of an effort as between two opposing forces, has been recorded. In a more ambitious and deeper description the tension might have included elements more intimately and more heavily descriptive of the clanging weight of the tackle, the strain on the ship, the operation of the gear under water and along the ground, the scuttering myriads of birds laying off in the gale. The fine fury of ship and heavy weather could have been brought through to touch the vitals of the men and the ship. In the hauling, the simple fact of a wave breaking over the men, subsiding and leaving them hanging on as though nothing had happened, would have brought the sequence to an appropriate peak. The release could have attached to itself images of, say, birds wheeling high, taking off from the ship, and of contemplative, i.e. more intimate, reaction on the faces of the men. The drama would have gone deeper by the greater insight into the energies and reactions involved.
Carry this analysis into a consideration of the first part of Deserter, which piles up from a sequence of deadly quiet to the strain and fury — and aftermath — of the strike, or of the strike sequence itself, which piles up from deadly quiet to the strain and fury — and aftermath— of the police attack, and you have indication of how the symphonic shape, still faithful to its own peculiar methods, comes to grip with dramatic issue.
The poetic approach is best represented by Romance Sentimentale and the last sequence of Ekstase. Here there is description without tension, but the moving description is lit up by attendant images. In Ekstase the notion of life renewed is conveyed by a rhythmic sequence of labour, but there are also essential images of a woman and child, a young man standing high over the scene, skyscapes and water. The description of the various moods of Romance Sentimentale
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