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62 PUDOVKIN
does not adapt reality, but uses it for the creation of a new reality, and the most characteristic and important aspect of this process is that, in it, laws of space and time invariable and inescapable in work with actuality become tractable and obedient. The film assembles the elements of reality to build from them a new reality proper only to itself; and the laws of space and time, that, in work with living men, with sets and the footage of the stage, are fixed and fast, are, in the film, entirely altered. Filmic space and filmic time, the creation of the technician, are entirely subject to the director. The basic method of filmic representation, this construction of the unity of a film from separate pieces or elements, the superfluous among which can be eliminated and only the characteristic and significant retained, offers exceptional possibilities.
Everyone knows that the nearer we approach a regarded object, the less material appears simultaneously in our view-field ; the more clearly our investigating glance examines an object, the more details we perceive and the more limited and sectional becomes our view. We no longer perceive the object as a whole, but pick out the details with our glance in order, thus receiving by association an impression of the whole that is far more vivid, deeper, and sharper than if we had gazed at the object from a distance and perceived the whole in a general view, inevitably missing detail in so doing. When we wish to apprehend anything, we always begin with the general outlines, and then, by