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THE THEORETICAL
was of real importance, for had it been 'Royalists' or 'Monarchists,' the effect would have been the same, due entirely to the emotions raised by the cutting. Much the same course of events took place among a working-class audience at the showing of Victor Turin's Turksib, at the Scala Theatre on 9th March 1930. The spectators in London were just as eager for the railway to be opened as were the peasants in Russia! This advanced process of editing and cutting, together with a remarkable use of the other properties of the medium, renders Soviet films the most emotionally powerful in the world.
Pudovkin claims that every object, taken from a given viewpoint and reproduced on the screen in the form of a visual image, is a dead object, even though it may have movement, for this movement is that of material and not that of film. The object does not assume life until it is placed among other separate objects; until it is presented as being part of a synthesis of separate visual images. Every object brought upon th& screen in the form of a visual image has not photographic but cinematographic essence given to it by editing. 'Editing is the creative force of filmic reality. Nature provides only the raw material.' {Vide, Film Weekly, 29th October 1928, translation by Ivor Montagu of the preface to Pudovkin 's Manual of Film Direction, and later published in Pudovkin on Film Technique [Gollancz, 1929].)
This, then, is the relation between the film and reality. An actor at his best is but raw material for his future composition in visual images when edited. He is only the clay with which the director works. A landscape is but a mere photograph until it assumes its place in the organisation of visual images. The extraordinary truth of this shatters at one blow the whole idea of the star-system. Where now is Clara Bow's 'it,' and Carl Brisson's sweet smile? In brief, therefore, we are to understand that the film director works with actual material, creating out of it a filmic reality. He composes, it will be remembered, filmic time and filmic space out of real material. The true aim of the film director is not realism, as is generally but erroneously supposed, but a reality of his own construction.
Lev Kuleshov it will be recalled, logically maintained that in every art there must be, firstly, a material; and secondly, a method of composing that material arising out of the nature of the medium.1 In the case of the film, we are now able to grasp fully the fact that
1 Cf. pages 52, 155. 292