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METHODS OF EXPRESSION OF DRAMATIC CONTENT
aim. This indicates that it is essential for the sound images to be included with the visual images in the preconceived scenarioorganisation.
Only in this way can synchronised sound images be wedded to the concatenation of visual images on the screen in such a manner that both go to build a film as a unity with a singleness of mind and a centralisation of purpose. Thus will it be possible to construct a film as a plastic composition, capable of achieving unprecedented emotional effect on any given audience. By cine-organisation of the three forms of montage; by use of the true resources of the cinema which have arisen out of its nature; by preconception of the result and the power of being able to achieve that desired result by means of the film's capabilities of dramatic expression; by these means will a film be made.
In retrospect, it has taken roughly twenty-five years (1900-25) to discover the fundamental basis of film creation in the work of Kuleshov and the Soviet directors. During this time, the film has developed attributes and properties peculiar to itself; has become completely alienated from the hampering traditions of the theatre; and has succeeded in establishing itself as an independent form of expression utterly representative of the spirit of the twentieth century. From 1925, there have been realised practical examples based on the filmic theories of Kuleshov and his fellow-workers, resulting in the most momentous achievements of the cinema. And now, in 1930, the film has returned to its original ideas; has become in still closer relation to theatre; and aims once more at realism and photographic representation. The advent of the sound and dialogue film marks the opening of the second cycle in the history of the cinema. Discoveries that have taken twenty-five years to evolve are being thrown aside in the interests of showmanship and commercialism; magnificently the film neglects its proper qualities and returns to the confines of the theatre. But just as in the primitive days the film developed despite the misconception of producers and directors, so am I confident that the offending dialogue will pass as soon as its showmanship possibilities become exhausted, and the way will be left open for the great sound and visual cinema of the future.
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