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62 PLAN FOR CINEMA
Now, suppose we had never seen a close-up, suppose we had only known one camera viewpoint. Furthermore, suppose we had never known a monochromatic, scenographic film at all, but a colour stereoscopic film with screen expanded to the full size of the proscenium frame. That would be a form of theatre, I suggest. And it would be a film theatre, physically free. We would now depend on what the camera sees, and the way we move it in relation to what it is seeing while it is actually in the process of seeing. It is no longer just a recorder of individual scenes and parts of those scenes which have no meaning until they are pieced together. The large screen has brought the scene and the objects within it nearer their 'real5 size. Remember, the distance of our camera viewpoint is now fixed, irrespective of whether the camera is moving or not. A close-up on such a screen would be ludicrously large — and every time a shot cut, no matter how skilfully the editing had been done, we would be intensely aware of it. A cut would be tantamount to a flash.
In some cinema halls, a device known as a magnascope is sometimes used to give size emphasis to particular sequences. The screen expands both horizontally and vertically nearly to the full size of the proscenium. I remember seeing the French version of Farkas's The Battle with the battle sequence (it is a naval battle) on such a screen. Its effectiveness, due to truer proportion of screen size to big objects within mediumand long-distance shots (battleships steaming at speed,