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THE TWELVE APOSTLES l6g
sodes for the scenario 1905 the only one that could be shot in the south.
This particular episode became the emotional embodiment of the whole epic of 1905.
It was here that the technique of pars pro toto was born.
The part took the place of the whole.
It succeeded in embodying in itself the emotional tone of the whole.
What made this possible?
This picture is in large measure connected with a change in the understanding of the function of the close-up from that of informative detail ' to presentation of the particular so that it evokes in the spectator's mind a feeling of the general, of the whole'.
Such is the doctor's pince-nez which takes the place of its owner at a moment of stress.
The dangling pince-nez floundering in the seaweed after the sailors' reprisal takes the place of the doctor.
In one of my articles I have compared this method of utilizing the close-up to what is called synecdoche in poetry.
Both the one and the other in my opinion are directly dependent on the psychological phenomenon pars pro toto that is, our ability to recreate the mental and emotional conception of the whole from some one part representing it.
But when is this phenomenon artistically justified? When can the part, the particular, the episode naturally and fully replace the whole?
Of course, only in those cases when the part, the particular, the episode is typical.
In other words, when it really concentrates in itself a reflexion of the whole, as a drop of dew reflects the sky.
The doctor with his sharp beard, near-sighted eyes, and near-sighted mind, is perfectly epitomized by the pince-nez in the 1 905 style which is held in place, like a fox-terrier, by a thin metal chain attached to the ear.