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7. THE PRINCIPLE OF COMPOSITIONAL UNITY
We must briefly summarise the abstract methodic scheme of compositional eatment worked out in the preceding sections.
i. Ascertaining the theme of the literary fragment.
2. Deciding upon the representational characteristics according to the
scenario material.
3. Exposition of the main tendencies of the treatment.
4. Exposition of the narrative.
5. Construction of the mise en scene.
6. The directorial distribution into shots.
7. Deciding the shooting point and the editing groups according to the
mise en scene and the shot distribution.
8. Working out the compositional schemes.
9. The technical interpretation of the compositional schemes.
The foregoing summary is an approximate outline of the way in which the lematic task set by the literary scenario is concretely realised in the taken film, number of conclusions follow from this.
The camera-man may have a varying degree of freedom in the course of ;alising the task in the representational treatment of the film. He may have :
1. Maximum freedom. — In this case he is given a theme which serves as the arting-point from which he carries out all the treatment from beginning to end. his happens almost exclusively in the sphere of the news film. The newsreel imera-man carries out his own independent narrative treatment of the news itline, being responsible for it through all the stages of creative achievement.
2. A scenario task already distributed into shots. — In this case the narrative as already been given concrete form, and the shot distribution has been made. 1 shooting a story-film the camera-man proceeds on the basis of the director's ^rbal explanations of the action, and reduces the representational treatment to )ncrete form.
3. Minimum freedom. — In addition to receiving a scenario already distributed lto shots, the camera-man is also provided with a compositional scheme or cetch. He has only to realise the optical image which is schematically provided 1 the sketch.
In all these cases it is possible to determine the correct representational eatment of each shot only if the camera-man has a clear understanding of the itrinsic, inseparable connection between the various stages of realising the leme, their relation to one another, and their role in developing the theme as whole. Only thus will the main determining feature of the camera-man's work, ie feature of compositional succession, be revealed.
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