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THE THEORETICAL
of the theatre to enhance the atmosphere of the main theme on the audience. The idea is admittedly novel, but it is doubtful if it tends to establish the film as a unity.
(d) Constructive Editing and Cutting
When analysing the final act of montage, which is the assembling of the various strips of film on which have been recorded photographically the incidents and material as indicated by the scenarioplan, we can put aside all the resources of filmic representation that have so far been discussed. Camera angle, pictorial composition, movement of material and of camera, etc., have played their essential parts in the transference of the dramatic content on to strips of celluloid. It may be assumed that the content of the thematic narrative has been expressed to the fullest possible advantage by the resources of the film already utilised up to the time the picture leaves the studio floor, or the exterior location, as the case may be. There remains now the task of sorting out these strips of film and assembling them in an order of continuity of dramatic content. But it is essential to realise that a desired emotional effect cannot be gained by the mere indiscriminate chopping of bits of celluloid. The content that is photographically recorded on these strips must have been borne in mind by the director from the origin of the manuscript. Thus far, this final act of assemblage has been kept in view throughout the whole procedure. Amongst the hundreds of lengths of film that wait to be assembled, there will be many meaningless bits that are useless in themselves, but 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 matter of arranging strips of film in an order that expresses the dramatic content of the theme with the greatest reactionary effect. The strength and mood of these reactions on the audience is affected by the methods of cutting, by variation in number of frames x of each separate length of film and by the rhythm of material.
1 For purposes of assembling, a strip of film should always be considered in terms of frames.
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