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ON FILM TECHNIQUE 79
in which the object taken is not removed from the view-field at a change of set-up. Now, all three pieces are shot separately (technically, more correctly, the whole of the long-shot is taken uninterruptedly, from the hand-movement to the threat to the adversary ; the close-up is taken separately). It is naturally obvious that the close-up of the hand of the actor, cut into the long-shot of the handmovement, will only be in the right place and only blend to a unity if the movements of the actor's hand at both moments of actual recording are in exact external correspondence.36
The example given of the hand is extremely elementary. The hand-movement is not complicated and exact repetition not hard to achieve. But the use of several set-ups in representing an actor's work occurs very frequently in films. The movements of the actors may be very complicated. And in order to repeat in the close-up the movements made in long-shot, to conform to the requirements of great spacial and temporal exactness, both director and actor must be technically highly practised. Yet another property of films conditions exactness of spacial directorial construction. In the preparation of the material to be shot, in the construction of the work before the camera, in the choice and fixation of one or other movement form — or, in other words, in the organisation of these tasks — not only are bounds set to the director by the considerations of his editing plan, but he is limited also by the specific view-field of the camera itself, which forces all the