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the content of every frame and the compositional juxtaposition of these individual contents with one another — that is, on the content of the whole, the general, the unifying.
One extreme led us to attaching too much importance to the problems of the technique of composition (montage methods); the other — to the elements of composition (the content of a shot).
We ought to have studied more thoroughly the very nature of this unifying factor. Of the factor which, in equal measure in each film, determines both the content of individual shots and the content resulting from their juxtaposition in one way or another.
But to do this, the researchers should have concentrated not on paradoxical cases where this whole, general and final comes unexpectedly of itself, but on cases where individual pieces are correlated and where the whole, general and final is predetermined and, in its own turn, predetermines the elements and methods of their juxtapo. :*ion. Such cases are the normal, generally accepted and widespread. Here the whole appears as "a third something"; but the general picture of how the shot and the montage are determined — the contents of both — w'll be more graphic and distinct. And it is these latter cases that are typical of cinematography.
When montage is done from this standpoint, the juxtaposed shots become correctly related. Moreover, the nature of montage, far from being divorced from the principles of realistic film-making, acts as one of the most coherent and practical means of realistically presenting the film's content.
What does such conception of montage really give us? In this case, each montage piece is not something unrelated, but becomes a particular representation of the general theme which in equal measure runs through all the shot-pieces. The juxtaposition of such particular details in a given montage construction produces that same whole and general which has given birth to each of the details, namely, the generalized image through which the author (and, after him, the spectator) relives the theme.
And if we now examine two pieces of film put side by side, we shall see their juxtaposition in a new light:
Juxtaposed, piece A and piece B, both taken from among the elements of an unfolding theme, produce an image embodying the content of the theme with utmost vividness.
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