We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
METHODS OF EXPRESSION OF DRAMATIC CONTENT
be a tendency to hold the duration of a scene on the screen longer and longer, already the pre-eminent characteristic of dialogue films. Gradually the powerful resources of cutting and editing will be forgotten and instead there will be long scenes lasting for minutes. There will be movement of players, but there will be no movement of film, a characteristic that already marks the American film. The real functions of the resources of the film will no longer be possible with the colour-stereoscopic-and-dialogue film.
I believe that, year by year, realism will usurp reality in the cinema. Less and less imagination in the mind of the audience will be called for by this 'progress.' As Mr. Elliott observes, 'An imaginary depiction of a scene gives more reality in drama than does actual presentation/ The realistic effect aimed at by the colour-stereoscopic-and-dialogue film destroys the pictorial, symbolic, psychological, and imaginative properties of the film. Obviously the stereoscopic screen is capable of presenting remarkable effects, but these will be catch-penny and sensational as distinct from the function of the film as a medium of dramatic expression. The new forms of the illegitimate cinema will, of course, be heavily financed by America, who includes these commercial opportunities in her vast scheme for capturing the entertainment market of the world. On these lines will the film retrace its steps, becoming a mechanical means of the theatrical presentation of spectacles superior commercially to the stage.
#
These, then, comprise the means of expression of the dramatic content of a theme by the visual form of the cinema. The natural properties of the film, arising out of its limits and delimits, have been considered at length. The projected addition of colour and stereoscopic effect have been investigated for any value they may bring to the cinema. It remains now to analyse the qualities of the dialogue and sound film, both as an integral part of the visual images on the screen and as an accompaniment in the form of the synchronisation of mechanically reproduced sound.
(II) The Visual and the Audible Cinema
In the preceding sections it has been seen that a film is built by the process of cine-organisation. This process has been divided simply into three forms of montage. To recapitulate briefly, the first act of
303