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THE FILMIC COMPONENTS 129
of course— follows the first pair. These may be changed in the angle of shooting or in the size of the image. Then, still another pair of similar cutaway shots is used, the number of pairs depending on the amount of footage to be allocated to the sequence. The final scene will cap this series of contrasting screen-direction shots with a re-establishing shot showing the baddies eventually meeting up in mortal combat with the goodies.
The same technique of successive cutaway shots can be adapted to the murder-mystery story in which the murderer stalks his victim. Here both subjects may be traveling in the same direction— as is always the case in the chase, in which the chaser catches up with the chased or loses him— and suspense can be built up with a series of cutaways, first of the murderer, and then of the prospective victim.
When indicating such cutaway sequences, it can be of invaluable aid to the director for the screen-play writer to write in all screen directions the subjects take— from R (right) to L (left) or from L to R.
Cutaway comment. The cutaway can be used in other ways. It is an ideal vehicle for permitting the writer to comment editorially on the action. In Pudovkin's picture End of St. Petersburg, immediately after a shot showing soldiers fighting and dying in the mud, came a cutaway showing financiers bidding in the stock market, in a visual, mordant, and ironic aside.
Humorous comment can be furnished by placing a cutaway of, say, a cat licking its fur clean, immediately following a girl primping in front of her mirror. Animals can be used in paralleling action cutaways in many such ways, dramatically and symbolically, as well as humorously. In the Czech picture Ecstasy, for instance, a number of cutaways were made to the mating antics of a stallion and a mare, not only to symbolize the passion of the hero and heroine, but also to parallel their action in alternating scenes.
Another sexually symbolic cutaway from Ecstasy showed an extreme close-up of a flower outside the lovers' cottage, as a drop of dew splashed from the stamen onto the pistil. The picture was overloaded with so many similar cutaways that much of the symbolism was lost.