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ON FILM TECHNIQUE 65
By eliminating distraction it spares the spectator's energy, and reaches thereby the clearest and most marked effect. As example we shall take some instances from well-known films in which notable directors have attained great strength of expression. As example, the trial scene in Griffith's Intolerance. Here there is a scene in which a woman hears the death sentence passed on her husband, who is innocent of the crime. The director shows the face of the woman : an anxious, trembling smile through tears. Suddenly the spectator sees for an instant her hands, only her hands, the fingers convulsively gripping the skin. This is one of the most powerful moments in the film. Not for a minute did we see the whole figure, but only the face, and the hands. And it is perhaps by virtue of this fact that the director understood how to choose and to show, from the mass of real material available, only these two characteristic details, that he attained the wonderful power of impression notable in this scene. Here once more we encounter the process, mentioned above, of clear selection, the possibility of the elimination of those insignificances that fulfil only a transition function and are always inseparable from reality, and of the retention only of climactic and dramatic points. Exactly upon this possibility depends the essence of the significance of editing, the basic process of filmic creation. Confusion by linkage and wastage by intervals are inevitable attributes of reality. When a spectator is dealing with actuality he can overcome them only by a given