We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
66 PUDOVKIN
effort of attention. He rests his glance on a face, then lets it glide down the body until finally it rests attentively on the hands — this is what a spectator has to do when looking at a real woman in real surroundings.
The film spares this work of stopping and downward-gliding. Thus the spectator spends no superfluous energy. By elimination of the points of interval the director endows the spectator with the energy preserved, he charges him, and thus the appearance assembled from a series of significant details is stronger in force of expression from the screen than is the appearance in actuality.
We now perceive that the work of the film director has a double character. For the construction of filmic form he requires proper material ; if he wishes to work filmically, he cannot and must not record reality as it presents itself to the actual, average onlooker. To create a filmic form, he must select those elements from which this form will later be assembled. To assemble these elements, he must first find them. And now we hit on the necessity for a special process of analysis of every real event that the director wishes to use in a shot. For every event a process has to be carried out comparable to the process in mathematics termed " differentiation " — that is to say, dissection into parts or elements. Here the technique of observation links up with the creative process of the selection of the characteristic elements necessary for the future finished work. In order to represent the woman in the court scene,