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ON FILM TECHNIQUE 73
be joined to a whole, and all the separate shots will be united by their place of taking — the town of Moscow. The spacial grasp of the camera can be narrowed to any desired degree ; a series of figures and happenings can be taken on the market-place and then finally in a room where a meeting is being held, and in all these shots there will undoubtedly be an organising embryo, but the question is how deeply it will be developed. Such a collection of shots can be compared to a newspaper, in which the enormous abundance of news is divided into sections and columns. The collection of news of all the happenings in the world, given in the newspaper, is organised and systematised. But this same news, used in an article or a book, is organised in an even higher degree. In the process of creating a film, the work of organisation can and must extend more widely and deeply than the mere establishment of a hard and fast editing scheme of representation. The separate pieces must be brought into organic relation with each other, and for this purpose their content must be considered in the shooting as a deepening, as an advancement, of the whole editing construction into the inner depth of each separate element of this construction.
In considering certain of our examples, we have had to deal with events and appearances that take place before the camera independent of the will of the director. The shooting of the demonstration was, after all, only a selection of scenes of real actuality, not created by the director, but picked out by him