A grammar of the film : an analysis of film technique (1950)

Page scan 000199 from A grammar of the film : an analysis of film technique

Record Details:

Title:
A grammar of the film : an analysis of film technique
Date:
1950
Publisher:
Berkeley : University of California Press
Volume:
A grammar of the film : an analysis of film technique
Leaf #:
000199
Language:
English
Collection:
Books
Format:
Books
Contributor:
Media History Digital Library
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
August 22, 2024
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The Internal Monologue Literature, however, is too confined by the restrictions of words, and drama by the restrictions of relative naturalism as well, to evoke the full force of this method. Only in the film can it be realized. It will be recalled that the first climax of An American Tragedy is a scene in a boat, in which a young man, goaded by the difficulties which his weakness and his social surroundings have inflicted on him, and restrained by his irresolution, battles with himself over his desire to kill the girl who is accompanying him. Eisenstein describes the script as follows. ‘These montage sheets were wonderful. . . . ‘The film alone has at its command the means of presenting adequately the hurrying thoughts of an agitated man. . . . ‘For only the sound film is capable of reconstructing all the phases and specific essence of the process of thought. ‘What splendid drafts of montage sheets these were! ‘Like thought, they proceeded now by means of visual images — with sound — synchronized or nonsynchronized. Then as sound — formless — or with sound images: sounds symbolizing objects. ‘Then suddenly, by the coinage of words formulated intellectually — intellectually and dispassionately, and so uttered. With a black film — hurrying, formless visibility. 187