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Expressed in the form of an imperative, with greater precision, this premise will read as follows:
Representation A and representation B must be so selected from among all the possible features within the unfolding theme, they must be so chosen as to make their (theirs, and not any other elements') juxtaposition arouse in the spectator's perception and feelings the most complete possible image of the theme itself.
In our discussion of montage we have used two terms — "representation" and "image." A few words to explain their difference as we understand it.
Let us consider an obvious case. Let us take a white average-size disc with a smooth surface, its circumference divided into sixty equal parts. Every fifth division is marked with a figure — from 1 to 12. In the centre of the disc are fixed two revolving metal rods, tapering at their free ends. One of these rods is as long as the radius, the other, somewhat shorter. Let us suppose the longer rod points at the figure 12 and the shorter, consecutively at 1,2, 3, etc., until it, too, points iat 12. This will be a series of geometrical representations of the fact that two metal rods successively form angles of 30, 60, 90, etc., degrees, up to 360.
If the disc is supplied with a mechanism evenly moving the metal rods, the geometrical figure on its surface will acquire a special meaning: it will no longer be a mere representation, but ian image of time.
In this case, the representation and the image it calls to mind are so blended that it requires very special circumstances to separate the geometrical position of the hands on the dial from the concept of time. And yet this can happen to any of us, though under unusual circumstances.
Remember Vronsky after Anna Karenina tells him she is expecting a child? The case we are discussing is described at the beginning of Chapter XXIV, Part II:
"When Vronsky looked at his watch on the Karenins' verandah he was so agitated and so preoccupied that he saw the hands and the face of the watch without realizing the time."
He conceived no image of time looking at the watch. All he saw was the geometrical representation of the dial and the hands.
We see that even in a simple case of astronomical time — the hour — the representation on the dial is not sufficient. It is not enough just to
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