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below are perhaps more damned and dated than the iris.
Of all shots, however, perhaps the silliest is that which travels forward (usually with the inebriate sobriety of the guilty, comedy paterfamilias) toward a static object which can be seen quite well in the long shot, or if it cannot, should be I I don't mean the swoop. There are times when this is effective. But I do mean the camera that meanders forward to try to make a dull shot less dull.
The trouble with a travelling camera is that it so often does not travel. It moves, certainly, but how illogicallv I The eye will pick out its objects of interest and concentration with far surer mobility. Sense of movement is not imparted by a moving shot that is not composed in the context of image fluiditv. \^erv often it holds up movement while you have to watch its sillv rolling. If it moves it must wait for vou to want to move with it. Its movement should be your movement. Where are you off to, I don't want to go there '' is a more usual feeling. When rightly used it can be one of the cardinal blessings of cinema. If it flows and enriches it will be right. If it lopes round like a lost soul, the only thing to be hoped for is that it can be destroyed in the cutting room.
Many people said that we had reached perfection in the silent film. What an untruth I There were endless unexplored possibilities. The technique was not mature. It Avas just struggling out of puberty. Gauche and innocent. Cinema will never be so static as to consummate its own perfection.
Kenneth ^Iacpherson.
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