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THE FILMIC COMPONENTS 107
it is small, of having it gradually increase in size until soon it assumes full screen proportions as it seemingly hurtles pell-mell into the audience itself, and then of moving with it as it rushes by headlong to decrease gradually in size— is one that can be breath-taking when done well, for it has all of the elements of dramatic build-up interwoven into a continuous flow of violent, moving action.
Exit and entrance pans. The pan shot is also used to follow individual actions, such as entrances or exits from one room into another. It goes without saying that the exit or entrance pan should be used only where such movement is essential to the development of the story. There is no sense in wasting a pan shot on an exit or entrance that does not add to the story's development. It is best, then, simply to cut away from the action and cut to the next scene. But if it is necessary to follow a character from one room to another, then a direct cut would be confusing, because the audience would have been given no indication of the character's intention of leaving the room. Thus, if they see him in one scene standing at the window of the kitchen as a direct cut is made from the scene, only to find him in the next scene entering the living room, the audience would be puzzled by this abrupt "jump cut," as it is called, and the flow of continuity would be considerably impaired. If, however, the cut is made to a scene in which the character at the window does not appear, it is not necessary to pan him away from the window to the door, even though in a succeeding scene he is shown entering the dining room.
Pan motivated movement. The pan shot is also used to follow an actor although he makes neither an exit nor entrance. It can take him across the room or yard, or from the fireplace to the window. But always remember, there must be a definite reason for the movement of the actor to warrant the camera movement. When such pans are used simply to have the camera move, and for no other reason, the illusory sense of movement created will tend to counteract the effect of genuine movement obtained from other shots, in which the camera movement was justified by completely motivated character movement.
That accounts for the failure of Hitchcock's The Rope to realize its full potentialities as a great picture. The picture was shot as a