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42 PUDOVKIN
impression, without being able to look separately at the first, the secpnd, or the woman. Here we have approached closely the basic significance of editing. Its object ii the showing of the development of the scene in relief, as it were, by guiding the attention of the spectator now to one, now to the other separate element. The lens of the camera replaces the eye of the observer, and the changes of angle of the camera — directed now on one person, now on another, now on one detail, now on another — must be subject to the same conditions as those of the eyes of the observer. The film technician, in order to secure the greatest clarity, emphasis, and vividness, shoots the scene in separate pieces and, joining them and showing them, directs the attention of the spectator to the separate elements, compelling him to see as the attentive observer saw. From the above is clear the manner in which editing can even work upon the emotions. Imagine to yourself the excited observer of some rapidly developing scene. His agitated glance is thrown rapidly from one spot to another. If we imitate this glance with the camera we get a series of pictures, rapidly alternating pieces, creating a stirring scenario editingconstruction. The reverse would be long pieces changing by mixes, conditioning a calm and slow editingconstruction (as one may shoot, for example, a herd of cattle wandering along a road, taken from the viewpoint of a pedestrian on the same road) .
We have established, by these instances, the basic significance of the constructive editing of scenes.