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184 FUNDAMENTALS best served by cuts between each title whereas a love story or heavy drama would probably set the best mood with a symbolical fade or dissolve between titles. In the case of our drama, the title is faded up from black; that is, from a dark, blank screen the words gradually appear growing brighter and brighter so that they can be read. After the title The Widow's Secret, has appeared it fades and the credit title appears. Following this, which may be a cut, we read the cast; then this fades out as the last credit "Produced by ..." fades in over the top. Depending on the impact required of the first scene, this may be faded in as the last title fades out, or it may be a cut. If it should be a strongly dramatic shot, such as a fight or struggle of any kind, the latter would seem best. On the other hand, for an idyllic scene of love or peace a fade in is obviously much more in keeping. If the level of emotion is to be kept low at first, the atmosphere is maintained by holding the shot or making any necessary moves slowly, such as gentle pans, or slow trucking shots in to the players. Then perhaps the tension increases, so a cut is made to show the impact of the man's remarks. This is a reaction cut and should be cut a fraction of a second before the impact of his words are sensed by the girl. In this way, the audience sees the man as the words are leaving his lips and the girl as she listens to what she expects to hear; then, suddenly, words come which are unexpected. Her face changes, and we see how she is affected. Here is the need for skill. If the editor cuts too soon, the con- tinued sight of her happy face detracts from the forces of the words we were watching him mouth. So the remembrance of a vicious or angry face spitting out harsh words is gone, and the dramatic feel of the situation is lost. On the other hand, if the cut is made after she has reacted to the import of the words the high point of acting is lost—the change in facial expression. This is something no actor should be denied, for with television's limited field of action the usual thespian's gestures are restricted almost entirely to facial portrayal. So we see that editing or cutting, as it is sometimes called, has a definite rhythm. This rhythm must be maintained throughout the whole of the film; otherwise it bogs