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152 MOVIES IN SOCIETY
jumps from the train, and leaves the passengers with the risk of death.
This editing shows at the same time a scene where the train is running on one side and the passenger is shown in his compartment, on the other side. Abel Gance retakes the same images several times, utilizing each time shorter sequences and the movement is more and more rapid and more breathless; thus creating in the mind of the spectator an agony that becomes more and more vibrant and he is forced to participate involuntarily and very often subconsciously, in the impending catastrophe of the train. It can be said that during some seconds, the audience lives within the atmosphere of the accident. This type of editing creates a penetrating and sharp sensation that is also created in the mind of the audience — a feeling of anxiety, agony and suspense.
The silent movies officially vanished thirty years ago.
At present all the films, even those without sound — the documentaries, for instance, are accompanied at the time of projection by music, or sub-titles. But, in spite of this, there are people who will go and see silent movies in cinema clubs. There are some art critics of the cinema who prefer the silent to the talking cinema since they consider that the former is purer and purged of today's laboratory effects but naturally tastes vary. I, certainly, prefer the talking movie, but this does not keep me from appreciating the wonderful silent films of the past. It is evident that the talking cinema has contributed to the medium of expression and this contribution has contributed to the medium of expression and this contribution has manifested itself in a screen language and in the method of presenting sequences, now in a defective manner, due to sound effects.
In a sound film, the language of the images has a predominant role, because the images are accompanied by music; the expression and mimicry of the artist is less effective. The sound also helps to direct the emotion of the spectator. A