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195
art) Kuleshov formulates this property of the camera in basis of the quantitative difference of the points of view in the cinema and in the theatre. Whereas the spectator in the theatre, from any seat in the auditorium, sees a different projection of the scene, the spectator in the cinema sees from all seats the very same.*
The role of the creative camera has established that it shall not confine itself to illustrating novels or a literary scenario, but create its own form. The camera catches with precision the slightest nuances of mimic expression, knows how " to read between the lines," reveals states and processes going on in the world we see, which were formerlv concealed from normal sight.
The question of the creative camera is intimately connected with montage, which becomes creative only when we find out something that in the celluloid strips taken separately, is not to be found.
Montage is the creator of film reality, it is the language of the film regisseur where the element is not a word but a picture. Literary style and montage are thus akin.
Of single situation-scenes filmed at different moments and in various places, the regisseur, thanks to montage, constructs and " creates " a new film-space and a new film-time, being in no relation to the " photographed reality," i.e. to real time and to real space.
Pudovkin understands the montage of a film as an association of the elements of time and of space, i.e. he treats the film as a composition of motion.**
Montage that solelv realises, the course of action for the sake of its own understanding, does not take into consideration the significant force and power of association, Avhich the modern film regisseurs see as the actual and creative role of montage. For example : Hans Richter (Filmgegner von heute, Filmfreund von morgen) states that an association in the film means the connection of a series of visual sequences in basis of their affinity of form, rhythm or contents. Such an association comes forth either by joining typical contrasts or by resemblance of shape and of gestures.
By evoking an association, the regisseur typifies the peculiar and individual phenomena. Such an association, as maintained by Richter, may be a means to creation of enlightening effects; it may alter the essential contents of things, secure new values, and impart to the film a significance previously not possessed. In this association, he asserts, the elements of the speech of the film and the instruments of film poetry are contained.
Eisenstein's theory of the " intellectual film "f which consists of the
* (I very much question this. In fact, I am certain it is not so. A film can assume a whole scale of different significances viewed from, different parts of the Theatre — Ed.).
** That postulate of time and space set forth by Pudovkin in regard to the film is nothing particularly new in the sphere of modern art. In plastic arts this postulate was realized from the initiation in painting of futurism (Boccioni) and of cubism (Picasso), whereas in modern architecture it is known as functionalism, i.e. coordination of architectural composition in space and time.
+ Eisenstein's article " The Fourth Dimension in the Kino." (Close Up, March and April.)