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THE THEORETICAL
montage is the assembling of the scenario by the preconception of the selected theme, as it would be expressed by the resources of the cinema. The second act of montage deals with these methods of expression during the actual process of taking the film photographically, as indicated by the scenario-plan. The third and final act of montage consists in the assembling or mounting of the pieces of film bearing the photographic images, welding them in various lengths and positions in relation to one another in order to form a united whole. These three acts of montage are the means by which a story or theme is translated into a succession of visual images on the screen; which is capable of producing considerable emotional effect on any given audience of people in any part of the world.
Further, a supplementary section was added in order to consider the possible advantages that might be derived from two mechanical inventions, the colour film and the stereoscopic screen, with a view to adding them to the already existing forms of cinematic expression. For the purpose of argument, perfection was assumed in the mechanical process of these inventions, and it was found that neither contributed in any degree of value to the powers of expression already belonging to the film.
It is of urgent importance now to estimate the value, if any, of synchronised sound and dialogue reproduction as a means of expression of the dramatic content of a theme. Again, for all intents and purposes, perfection of the mechanical device is to be assumed.
General agreement has been reached by writers and theorists on this exceptionally interesting new invention, that the sound-dialoguevisual film must be considered as a form of expression quite separate from the silent visual film with which these pages are principally concerned.1
It is necessary first to show, then, why this separation of the so-called two techniques is impossible; secondly, why the combination of the two techniques, when including direct reproduced dialogue, is equally unfeasible; and thirdly, how, with the use of synchronised sound alone, it is possible to conceive a film as a unity, employing
1 The number of articles, arguments, discussions, lectures, manifestos, conversaziones and debates on the merits and demerits of the talking and silent film has been positively amazing. The general public have had ballots; the Press have had columns; and the atmosphere in the studios themselves has been unprecedented. Probably no other invention for public entertainment has had so much free publicity as the 'talkie.'
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