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3. SHOT EDITING
As we have already remarked, the composition of a film involves a number of compositional elements. At the moment we shall only consider the element of compositional editing, which has an inseparable connection and fundamental interaction with the problems of shot composition.
The process of creating a cinematic picture runs in an unbroken line from the original scenario, by way of the directorial and actor treatment and the photographic process, to the editing of the various single shots, into which the prototypes of the future unity have by then been introduced. This means that the cinematic structure of the picture has to be considered as a unity of the general in the particular ; the seeds of the final unity must exist in each single unity, in other words, in each shot.
Editing as a method of artistic unification is not in itself the be-all and end-all of cinematography. Made necessary owing to the specific peculiarities of cinematographic technique, editing is the indispensable means of producing a more fundamental and organic form, and hence becomes an inseparable factor in revealing the art-image and demonstrating the general idea of the film.
The form which the compositional editing of the film shall take cannot be decided upon by the director arbitrarily, ignoring the content and the formal arrangement of each separate shot already taken. Editing will only make an integral, creative picture out of the separate shots if the content and formal details of each shot have been subordinated to the scenario and the directorial task, which predetermined the role and place of each shot in the final assembly, and so predetermined the form of the compositional editing.1
But while the content and the formal treatment of the individual shots determine to a large extent the criteria of the correctness of the editing, the scheme of compositional editing outlined in the scenario predetermines the principle governing the compositional structure of the individual shot. In shooting the film the director and camera-man have to bear in mind the ultimate editing, and they have to arrange the materials so that each light-accent, each movement, fulfils a definite function in the ultimate interaction of the edited shots. The camera-man must 1 foresee ' the function of each shot in the edited film.
Because of this, he must take into account the situation and role of the given episode or scene not only for its own sake, but as a factor in the creation of the picture obtained by the final editing. He must have a creative understanding of the material in each shot, he must decide what is the essence of the shot, and its main representational elements, on the basis of the future interaction of the system of shots when edited. And it is the ability to do this which is the chief and most valuable quality distinguishing a good camera-man from an ordinary mechanical photographer.
1 " Without committing blunders," says Engels, " thought can only bring together into a unity those elements of consciousness in which, or in the real prototypes of which, this unity already exists." (Anti-Duhring.) — N.
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