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80 PUDOVKIN
material shot into the well-known rectangular contour of the cinematograph screen. During his work the film director does not see what takes place in front of him with the eye of a normal spectator — he looks at it with the eye of the lens.37 The normal human gaze, widely embracing the area in front of him, does not exist for the director. He sees and constructs only in that conditioned section of space that the camera can take in ; and yet more — this space is, as it were, delimited by fast, fixed boundaries, and the very definite expression of these boundaries themselves inevitably conditions an inflexibility of composition in the spacial construction. It is obvious that an actor taken with a fairly close approximation of the camera will, in making a movement too wide in relation to the space he occupies, simply disappear from the view-field of the camera. If, for example, the actor sit with bended head, and must raise his head, at a given approximation of the camera, an error on his part of only an inch or two may leave only his chin visible to the spectator, the rest of him being outside the limits of the screen, or, technically, " cut off." This elementary example broadly emphasises once again the necessity of an exact spacial calculation of every movement the director shoots. Naturally this necessity applies not only to close-ups. It may be a gross mistake to take instead of the whole of somebody, only two-thirds of him. To distribute the material shot and its movements in the rectangle of the picture in such a way that everything is clearly and sharply