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THE THEORETICAL
picks out only such significant portions of the event as are necessary for its screen representation. This, in other words, refers back to the scenarist's selection of the best visual images for the expression of a scene. Suggested by the scenarist, recorded by the camera, created by the director in editing, there comes into being an element peculiar to the cinema filmic time. This filmic time is controlled entirely by the three composers of the film manuscript. Further, it is clear that every situation in a narrative is characterised not only by its duration of time, but also by the space in which it takes place. It is perfectly possible for the ingredients of a scene to be taken by the camera in several places remote from one another, but when that scene is filmically composed, the various places will appear to be one and the same.1 By editing, preconceived in the film manuscript, there will have been created filmic space as well as filmic time.
Thus, the material from which a film is built consists of photographic images of persons, objects, and structures, either static or in motion, which can be assembled in whatever manner the scenarist likes, in order to express his theme. The elements of real persons, objects, and structures, with their temporal and spatial conditions, are recorded photographically, to be altered according to the desire of the scenarist by the filmic process of editing. Actual time becomes filmic time; actual space becomes filmic space; actual reality becomes, on the screen, filmic reality. To quote Pudovkin: 'The film assembles the elements of reality to build from them a new reality proper to itself; and the laws of space and time that, in the sets and footage of the stage are fixed and fast, are in the film entirely altered.' {Pudovkin on Film Technique, Gollancz, 1929.) Thus it will appear that filmic space and filmic time are the principles that primarily govern the continuity of the scenario beyond narrative interest.
In the construction of continuity, it is of interest to examine various methods of bridging a lapse of filmic time between the end of one sequence and the beginning of the next. There are several known methods of suggesting or representing this passing of time, the most usual being the fade-in and the fade-out. The former represents a dark screen, upon which the visual image gradually assumes shape; the latter is the reverse process. It is common to end a sequence with a fade, indicating a slow, restful departure; the screen remaining dark until the first image of the succeeding scene
1 Cf. Ermler's Fragment of an Empire, page 172. 262