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Production still from this year's Ufa superfihn — " F. P. One." Production Erich Pommer, direction, Karl Hartl.
Une scene de travail dans le film axtraordinaire de la Ufa de cette annee — " /. F. i ne repond pas." Production Erich Pommer, regie Karl Hartl.
Werkfoto aus dem diesjdhrigen Spitzenfilm der Erich Pommer, Production der Ufa, " F. P. I. antuortet nicht.
Another ground level view across the riot at its height. Short duration. Clamour continuing.
570 2J ins.
The arrested picture of 421 : the cleared conglomeration ; Jackson with raised stick. Flash.
Clamour continuing.
571 1 in.
Ground level view of riot. A flash. Clamour continuing.
572 1 in.
And so on. To appreciate the effect of this riot scene some minutes of earnest ratiocination are required, several pages have to be turned to assimilate slowly a blow-of-the-eye which in practice would have fled bv in five seconds. The eye, of course, is quicker than the ear and the tongue (whose leisure we await even when reading to ourselves), and a film is not a moving Tate Gallery, or a landscape album of the Scottish highlands.
In the following passage, taken from an experiment in this new form, one may see an alternative method. The action is conceived in terms of cinema, but written down with an eye to verbal effect :
The two girls pad on in their silent sand-shoes dowrn the zig-zag towards the bay, first towards the lighthouse, and then away from the lighthouse and towards the Marine Hotel, and then away from the Marine Hotel and towards the lighthouse, and meanwhile Mr. Curtis goes round and round his heap of cement, mixing it all up, and Tomlinson moves down the row of dibbles with the cabbage plants.