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METHODS OF EXPRESSION
each will play its part in the building of the whole. Frame by frame, shot by shot, sequence by sequence, the film as a unity will be constructed. This final relation, inter-relation, and juxtaposition of the varying lengths of film will produce cinematic effect on the audience, causing them to be roused in the most emotional degree.
It has been made clear that constructive editing is the process of arranging strips of film in an order that expresses the dramatic content of the story with the greatest responsiveness. The strength and mood of these reactions on the audience is affected by the methods of cutting, by variation in number of frames of each separate length of film and by the rhythm of material.
The elementary principles of editing are as follows. First, it should be the aim of the director never to use a shot on the screen more than once if it has been taken from the same angle of vision, unless he should desire to emphasise a particular viewpoint. The screen will thus be kept constantly fresh and interesting to the audience. To show a thing more than once from the same angle is to invite monotony. The means whereby this choice of angles is calculated are determined by the changing dramatic content of the action. (Reference may here be made to the earlier section of this chapter dealing with camera capabilities, in particular to the subject of camera angles.) Secondly, a shot should be held only long enough on the screen to be taken in by the audience during a medium tension of emotion. The spectator should only be allowed sufficient time to realise the significance of the image, which has been aided by the pictorial composition. Thirdly, short cutting (being the use of small lengths of film, usually close-ups, but not necessarily so) should be employed to create high and exciting emotions, by a succession of short flashes in rhythmic order on the screen. Fourthly, long cutting (being the antithesis of short cutting) should be used for obtaining sad and soothing effects, which can be deliberately intensified by the time-length of images on the screen. By varying combinations of these two extreme methods of cutting,
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