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THE CINEMA AS A GRAPHIC ART
First : The representational characteristic of the place of action. Brutus and Caesar in one frame.
Second : The representational characteristic of one person : Brutus.
Third : Representational characteristic of the other person : Caesar.
Fourth : Brutus' operative tendency. He raises his hand.
Fifth : The instrument of the murder. The dagger in large-scale detail.
Sixth : Caesar's reaction to the operative tendency. He attempts to ward off the blow.
Seventh : Brutus fulfils the operative tendency. He strikes the blow.
Eighth : Caesar falls.
Thus we now have an exposition of the same subject in eight shots, each of which has its special and distinct task. These eight shots are linked with one another by the unity of their compositional theme. The elements of this unity have to be introduced into the separate compositional scheme of each shot, for in order to fuse the separate shots into a single integrated conception of the entire episode, we have to pass through the stage of editing unification of the shots.
This brings us to a fundamental question:
If unity in the compositional theme be a prerequisite to the ultimate editing unification, it is evident that there exists a single principle of compositional structure, which, in any estimate of the correctness of the compositional form given to each shot, must serve as sole criterion.
We shall not find the answer to this problem merely by considering the problems of composition involved in each separate shot, and we have to discuss now the conception which we have above called editing.''
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