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32 PUDOVKIN
sometimes replace a whole episode of the action in the development of the scenario. Let us take an example from ToVable David. Three tramps, needed by the scenarist to create an opposing evil influence to the hero of the scenario, are introduced. Before their appearance on the screen comes a title : " Three convicts escaped from the nearest prison." Naturally the escape itself could be shown ihstead of the title, but, as it is not the escape, but thp tramps that are important to the scenarist, he replaces the whole incident of the escape, as having no basic importance in the development of the action, by a title. The essential action — the appearance of the tramps — is shown on the screen preceded by a continuity title. This is correct construction. It is an entirely different matter for a title to replace an essential element of the scenario, where the subsequent action is, so to say, its result. For example : after the title " Olga, unable to endure the character of her hardhearted husband, resolved to leave him," Olga is shown walking out of the front door. This is no good at all. The action is weaker than the title, and shows inability to resolve the plastic problem concerned.
To the group " continuity tides " must also be referred such titles as indicate an hour or place of the action — for example : " in the evening," " at Ivan's," replacing by words those parts of the scenario the visual representation of which would uselessly spin out and burden the development of the action. To summarise what has been said about