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METHODS OF EXPRESSION OF DRAMATIC CONTENT
cant actions of behaviour on the part of a person, are highly indicative of the state of his mind, and are of the utmost value, when magnified on the screen, for establishing an understanding of that state of mind in the audience. For this reason alone, it will be seen how essential it is for a film player to be his natural self, and how detrimental theatrical acting is to film purposes. It is the duty of the director to reveal the natural characteristics of his players and to build these, by means of editing, into a filmic exposition of a personality, as required by the scenario. That is why, when approached from this point of view, the use of actual types is generally considered preferable to professional actors, a method of working adopted by the naturalistic directors. (Eisenstein, Pudovkin, Flaherty, Turin, and Epstein in his later period.)
Moreover, there is no limit to the depth of cinematic introspection. There is no state of mind which cannot be fully revealed by the resources of the film. The expression of such content may be said to be governed by the location of the camera when the shot is taken; and the relation between the length of this shot (when shown on the screen) and that of the other shots which make up the whole sequence,, and finally the film as a unity. It should be remembered also that both these two factors have been preconceived in the scenario-plan.
Added to which, there is to be considered the very important part played by the presence of objects and things in the construction of a scene. An object in itself is an immensely expressive thing. It will possibly be symbolic. For instance, an aeroplane or a motor-car is immediately suggestive of speed; a rifle or gun of death; and so on. By reason of the camera's capacity for bringing detail to the attention of the audience, inanimate objects assume a dramatic significance in the establishment of mood. Their use is, of course, controlled by the editing. (Recall the Sevres figures in The Living Corpse; the dirt and litter in Greed; the gallery of gods and the detail of architecture in October.) The film, more so than any other medium, forces the spectator to realise the consciousness of the inanimate.
It is, therefore, the mood or tension of a scene created by the characters which is to be transferred to the audience, or better still, in which the audience itself is going to participate. The existence and emphasis of this mood is established by the natural resources of the film.
Emphasis of mood is to be gained largely by contrast of light
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