The international photographer (Jan-Dec 1935)

January, 193? T h INTERNATIONAL PHOTOGRAPHER Eleven there are two classes of continuity construction : I. REAL TIME AND SPACE CONTINUITY In which all the movements and all the space and time in a scene are covered. In using this type of continuity we follow all the natural sequential action as one might in life or on the stage. II. FILMIC TIME CONTINUITY In which the frame is the space boundary and the cadence of the drama the only limitation on time. Under this type of continuity, if the movement is continuous and progressive within the frame, or blended from one shot to another by some blending force the Action Continuity is in a measure acceptable. In the Action Continuity we seek unity and congruence. If a continuity adheres to real time and space in its sequence, it is necessarily unified and congruous because it is held together by its relationship to our everyday experience with time and space. Each shot is a part of a room, or setting. When two shots, or parts are conjoined they are believed congruous because they both bear a relation to the whole geography of a set. All moves are thought of in terms of minutes, and as they are similar to everyday life they are unified by their relation to any ordinary sequence of moves. But when we branch out into a filmic time presentation of a scene, unity and congruence must be sought for in other forces — whether physcological or visual. So that under filmic time presentation we find, at least, these three types of blending forces : I. RHYTHMIC In which the inherent beat of the material serves to glue together as a unit a number of angles and shots covering that material. Much can be said about rhythm and its use in films. Somehow one must experiment to really understand the powers behind this type of continuity. To look at it briefly — we must understand that all things in life have rhythm. Rhythm is as much a point of character as Chaplin's cane. Scenes, factories, machines, countrysides in the wind, trains, the sea, trip hammers, are char acterized by their rhythms; people are sluggish or alert, some waddle, some jolt. Mae West's most distinctive characteristic is a suave undulating rhythm. Garbo has a distinctly different rhythm than Will Rogers. Our hearts beat out a rat-a-tat that courses its way to every remote section of our body. Our very tissues absorb its pulsations. Languid hearts motivate languid people, a nervous fluttering heart sends its possessor twitching and jerking through life. Scenes have an inherent rhythm. Expositional scenes are made up of slow, long cuts. Climactic scenes of short, fast cuts. Rhythm is present wherever there is movement. Rhythmic continuity is not arty — rather it is natural, and too often lacking in films. Rhythm and timing approach synonimity so closely that you can hardly run a hair between the difference in meaning. Where you have one you almost invariably have the other. Lack of rhythm results in ungainliness and in unwieldy and indeterminant locomotion. Over stimulation of rhythm results in the dance. Lack of timing results in chaotic milling around and jarring discordance. Over stimulation of timing would result in automatonic movements. "The rhythm of repeated movements of sound," says Dr. Boris V. Morkovin, "has power to suggest emotional moods just as words by associations bring back past experiences. The power of rhythm deeply rooted in early race experience has a magic spell (not unlike the incantations of sorcerers) far more powerful than words. Rhythm infects the spectators mind, arousing emotions into a state of activity by hint, and anticipation and expectancy of their satisfaction." The rhythm in music is the most obvious unifying (Turn to Page 28) B & II Cooke I'aro Lens in photographing position on the Bell & Howell Camera. 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