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THE COMPOSITIONAL CONSTRUCTION OF THE SHOT
We must now deal with the problem of interaction between the form in which the compositional editing is carried out, and the form of compositional construction of the shot.
Editing as a means of creative construction uses a number of methods, the application of any one of which will involve one or another form of compositional editing. We will not enter into a detailed consideration of the many forms of structural editing, but will only briefly summarise certain of the methods on which assembly of the shots can be based.
The primitively informational form of editing is the most elementary, and is characteristic of the early stage of development of cinema art. In this form of editing we confine ourselves to the representation of the given scene in the given shot, and edit those shots in order according to the simple, natural-logical development of the theme, in the order of the change from one camera viewpoint to another.
Parallel editing is characteristic of a certain period of American cinema, and arose as a further development of the primitively informational form. The 1 classic ' example is the type of picture depicting the heroine on the point of perishing and the race to save her. This theme obviously suggests division into two compositional series of shots. Parallel editing can also be applied as a method of evoking a simple and obvious comparison (' man and monument,' for instance). In this case the principle of compositional construction of shots placed in succession when edited forces us to seek a representational form in which the idea of association through resemblance is evoked in its most immediate and simple form.
Obviously, we can use similar methods to evoke an associative idea of the object alternatively through its points of contrast.
There are also forms of editing assembly specific to the cinema, carried out within the limits of a single shot. Later we shall deal specially with the many varieties of this ' intrashot ' editing.
At higher stages of cinema development we get forms of editing based on the simultaneous interaction of a number of shot sections, evoking thereby complex associations in the spectator. Eisenstein has worked out the theory of associative editing in its higher forms, and has expounded it both in his theoretical works,1 and in the special course for directors which he has given in the U.S.S.R. Institute for Cinematography. But we cannot stop to consider this question further, as it does not fall within the main scope of our task.
1 S. M. Eisenstein, " Perspectives," Iskusstvo, Nos. 1-2, 1929. " Re the Frame," a postscript to Kaufman's Japanese Cinema, 1929. — N. The latter, in translation by I. M., was published as " The Cinematographic Principle of Japanese Culture," in Transition, Nos. 19-20, June 1930, pp. 90 et seq., and reprinted in Experimental Cinema, No. 3. — Ed.
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