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Why Stories Are Changed
sively its own and which can be used by no other art form.
The instantaneous flash back, the cut-away to other connected action, the quick return to the main scene have made possible the presentation of dramatic situations without pause, without awkward delay. This achievement has been one of the greatest contributions of the screen to the principles of the drama.
The talking picture has many of the assets of the stage and the novel, but it adds to them several distinct advantages of its own. Its fluidity, its ability to tell a story steadily and consecutively in human terms, with mounting force and with no break, gives it a power uniquely its own.
Note that the expression "human terms" is used. For lack of flesh and blood, the author has not used the term "flesh and blood." The direct stimulus which exists between actors on a stage and their audience is not possible for the screen, and undoubtedly this is the screen's one great disadvantage.
But, as the stage's possession of flesh and blood is offset by its lack of fluidity, so is the screen's disadvantage of "disembodied shadows" made relatively unimportant by its pace, by the great variety of emotional effects which can be secured by close-ups, flash backs, "montage" shots, "process" shots, and various other methods.
The screen is like the novel in that it has great breadth of vision. Where the novel describes a scene in words, the talking picture shows that scene visually. Charles Dickens accomplished one of his greatest feats
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