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THE THEORETICAL
preconceived theme by cine-organisation of the three forms of montage, thus:
(a) The assembling of the thematic narrative, first in the mind; secondly, in treatment form; and then in the shape of a scenario-plan; including the reasoning employed in the choice of theme out of the countless available (as indicated in the previous chapter).
(b) The assembling of the material (as dictated by the scenarioplan) that is to be photographed in the studio or on location, based on the power of observation and understanding of human nature possessed by the director, and its expression by the. use of the full resources of the medium.
(c) The assembling of the strips of film bearing upon them the photographic images, in variations of length, light, movement of material, and intellectual values calculated to produce the greatest effect on an audience.
Cine-organisation is thus to be reckoned as the dominant factor of film production, for it controls the three acts of montage which create the film, make it a reality, and invest it with emotional power. A film is not significant as a dramatic expression unless the three acts of montage have been completely welded together.
The director is the sole controlling mind that organises the forms of montage. It is he who commands the fulfilment of cine-organisation. If a mistake should occur during any process of the three acts of montage, then the whole composition of the film will be thrown out of order. The director is to be considered as the central organiser of a number of workers (the scenarist, cameraman, architect, etc.), all of whose actions are in direct fulfilment of his wishes. The team work of a production unit is a natural outcome of the characteristics of the medium of the film. Although the construction of a film usually takes the following order of processes, viz.:
(a) The choice of theme, the treatment of theme, the scenarioplan.
(b) The selection of types and acting material.
(c) The erection of studio structures and location of exteriors.
(d) The shooting of the material as indicated by the scenario-plan.
(e) The laboratory work on the material taken.
(/) The assembling of material (i.e., the strips of celluloid) by constructive editing and cutting, as indicated in the scenarioplan,
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