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44 PLAN FOR CINEMA
has no significance objectively; it is purely a subjective entity. The camera per se can only reproduce, and therefore the relation of its angle to the object it is reproducing has no intrinsic aesthetical importance. It can do no more than transfer into scenographic terms exactly what it sees; from where it happens to see has no meaning aesthetically. For verisimilitude remains verisimilitude whether it be from the position of the worm on the ground or the fowl in the air. It is a matter of where in space you look from, not how you look; essentially a selective, in distinction to a creative process. Camera angle is of incidental account in subjective context, its value psychological. To look up at a man emphasizes his physical superiority because he towers above you. To look down to a human being or an animal provokes a feeling of power over it.
The shot, then, is the raw material like the word. Construction of the finished whole is selective, rather after the manner of a craftsman in mosaic with his multifarious collection of stones. An approximate outline of the film's progression is set down, the raw material then made.
Construction in any sort of creative sense does not start until the raw material is sifted, selected, cut up into celluloid strips of empirically determined durations on the screen, until finally the right tempo and rhythm relevant to what it is desired to say at any one moment is achieved. Shooting, comparatively, is of secondary importance. Evidently, in this world of film-dialectic,