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ON FILM TECHNIQUE 23
immediate shooting. Note that there is a whole series of details characteristic for the given scene and emphasised by their literary form, such as, for example, " sinking in the mud," " sadly the driver,5' " a passenger, wrapped in a soldier's cloak," " the piercing wind " — none of these details will reach the spectator if they are introduced merely as incidentals in shooting the scene as a whole, just as it is written. The film possesses essentially specific and highly effective methods by means of which the spectator can be made to notice each separate detail (mud, wind, behaviour of driver, behaviour of fare), showing them one by one, just as we should describe them in separate sequence in literary work, and not just simply to note " bad weather," " two men on a waggon." This method is called constructive editing.10 Something of the kind is used by certain scenariowriters in interpolating into their description of a scene a so-called "close-up" — thus, "a village street on a church holiday. An animated group of peasants. In the centre speaks a Comsomolka ll (close-up). New groups come up. The elders of the village. Indignant cries are heard from them."
Such " interpolated close-ups " had better be omitted — they have nothing to do with constructive editing. Terms such as " interpolation " and " cutin " are absurd expressions, the remnants of an old misunderstanding of the technical methods of the film. The details organically belonging to scenes of the kind instanced must not be interpolated into the scene, but the latter must be built out of them. We