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THE THEORETICAL
But when we see and hear a film, or rather when we accept a film, we are conscious of something beyond its theme and technical expression. We become aware of the director. Our acceptance of the director's creative impulse, however, is governed by our degree of sensitivity, for we may or we may not be receptive to his inner urge of expression. We are possibly going to achieve contact with his creative impulse, whereby we shall appreciate his work to the fullest extent, or we are possibly only going to receive his theme by the simple technical methods adopted by him. In this way, we must distinguish between, on the one hand, a theme and its filmic expression and on the other, the creative impulse of a director. It is one thing to accept The End of St. Petersburg and October as themes and examples of film technique, but quite another to accept through them the creative mentalities of Pudovkin and Eisenstein.
In this respect, therefore, it is clear that we are concerned not with the collective acceptance of a film by a number of persons, which is a matter of technical expression, but with the appreciation, according to degrees of sensitivity, that arises in the individual spectator. This is and must always be a matter of personal acceptance, governed by our own state of intelligence.
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A film demands that a theme either personal, impersonal or inanimate shall be presented to the mind through the eye by the flowing relation and inter-relation of a succession of visual images projected on a screen. It further requires the theme to be emphasised by the full range of cinematic resources: by the use of the intimate to reinforce the general at a similar moment or in development; by the instantaneous pictorial vision of more than one idea at the same time; by symbolism and suggestion; by the association of ideas and shapes; by the varying high and low tensions caused by rhythmic cutting;, by variation in the intensities of light; by the contrast and similarity of sounds; by all the intrinsic properties peculiar to the medium of the film. The film possesses the power of expanding and contracting the centre of interest, and of comparison by rapid change of the relationship of the trivial to the essential. By these means may the audience be compelled to accept the dramatic meaning of the theme and to realise its continually developing content.
Added to which, it is imperative that a film should be distinguished by a unity of purpose and should be single-minded in intention.
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