We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
1 8 PUDOVKIN
Of the questions of general construction of the scenario, mention must be made here only of one. During work on the treatment the scenarist must always consider the varying degree of tension in the action. This tension must, after all, be reflected in the spectator, forcing him to follow the given part of the picture with more or less excitement. This excitement does not depend from the dramatic situation alone, it can be created or strengthened by purely extraneous methods.6 The gradual windingup of the dynamic elements of the action, the introduction of scenes built from rapid, energetic work of the characters, the introduction of crowd scenes, all these govern increases of excitement in the spectator, and one must learn so to construct the scenario that the spectator is gradually engrossed by the developing action, receiving the most effective impulse only at the end. The vast majority of scenarios suffer from clumsy building up of tension. As example one may quote the Russian film The Adventures of Mr. West. The first three reels are watched with evergrowing interest. A cowboy, arrived in Moscow with the American visitor West, lands into and escapes from a series of exceedingly complicated situations, the interest steadily increasing with his dexterity. The dynamically saturated earlier reels are easy to look at and grip the spectator with everincreasing excitement. But after the end of the third reel, where the cowboy's adventures came to an unexpected end, the spectator experiences a natural reaction, and the continuation, in spite of the