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ON FILM TECHNIQUE 63
intensifying our examination to the highest degree, enrich the apprehension by an ever-increasing number of details. The particular, the detail, will always be a synonym of intensification. It is upon this that the strength of the film depends, that its characteristic speciality is the possibility of giving a clear, especially vivid representation of detail. The power of filmic representation lies in the fact that, by means of the camera, it continually strives to penetrate as deeply as possible, to the mid-point of every image. The camera, as it were, forces itself, ever striving, into the profoundest deeps of life ; it strives thither to penetrate, whither the average spectator never reaches as he glances casually around him. The camera goes deeper ; anything it can see it approaches, and thereafter eternalises upon the celluloid. When we approach a given, real image, we must spend a definite effort and time upon it, in advancing from the general to the particular, in intensifying our attention to that point at which we begin to remark and apprehend details. By the process of editing the film removes, eliminates, this effort. The film spectator is an ideal, perspicuous observer. And it is the director who makes him so. In the discovered, deeply embedded detail there lies an element of perception, the creative element that characterises as art the work of man, the sole element that gives the event shown its final worth.
To show something as everyone sees it is to have accomplished nothing. Not that material that is embraced in a first, casual, merely general and