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INTRODUCTION vii
from the cross cutting of the pictures. Such a use of editing was typical of the film throughout. The theory that was the basis for this method can be found in his manual.
Storm Over Asia had many things in common with this film. Its protagonist, as the hero in The End of St. Petersburg, was also a bewildered peasant, who in the social upheaval becomes awakened and leads his fellow men against their oppressors. Structurally simpler than its predecessor, it also revealed a cinematic style of dexterity and originality. The film was permeated with the same deep regard for the precise image, the exact pace, the significant psychological angle, and displayed an equally profound use of editing.
The closing sequence of the picture illustrates forcefully what Pudovkin called, "implanting an abstract concept into the consciousness of the spectator," through cinematic symbolism. The Mongol hero (mistaken heir of Genghis Khan) who has fiercely fought his way out of his enemy's headquarters, is pursued by them as he rides across the desert. A windstorm begins. The Mongol raises his ancient sword and cries out, "O My People!" Suddenly as if in answer to his cry, the desert begins to fill with hundreds, then thousands of mounted Mongols. Again he calls: "Rise in your ancient strength!" The screen fills with tens of thousands of his tribesmen, riding furiously as though to battle behind their leader. Once more the Mongol calls out: " — And free yourselves!" Now the mounted warriors blend with the fury of the storm and sweep every