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the early Marx Brothers comedies, must be suspect from the beginning. It is more relevant to stress that although these films use dialogue to a considerable extent, they make their' essential impression by the images : The Little Foxes and Citizen Kane are among the most visually interesting films to have come from Hollywood ; the visual contribution to his gags of Groucho Marx' eyebrows is incalculable, and Harpo never says a word. Making a quantitative estimate between the amount of visual and aural appeal can serve no useful purpose. It is not so much the quantitative balance between sound and picture, as the insistence on a primarily visual emphasis which needs to be kept in mind.
Who edits a film ?
The fundamental editing principles which were evolved in the silent cinema have now become common knowledge. The use of close shots, flash-backs, dissolves, panning and tracking shots is now common practice in every studio. These devices form an accepted part of every film-maker's resources : the way in which any of them are used to-day may vary in detail from the silent days, but their dramatic usefulness has remained substantially unaltered.
Sound and other technical innovations have brought about some minor changes : the determination of pace, which in the silent days was entirely a matter of the rate of cutting, can now to some extent be aided by the control of the volume and urgency of the sound-track ; passages of time, previously conveyed by subtitles, can now be suggested in the dialogue ; on a more routine level, devices like inter-cutting shots of the passing landscape with interior shots of a train compartment to convey that the train is moving, are no longer necessary because back-projection can be used to convey the idea in a single shot. These and many other small technical differences have arisen but they are all of an essentially practical nature.
More important changes of editing technique have arisen out of the very marked change of style which followed the advent of sound. A much greater insistence on realism has been a notable feature of the last two decades of film-making. This is strongly reflected in contemporary editing practice. Effects which were commonly used in the silent cinema but which now seem to detract from the realism of the presentation have fallen into disfavour : iris shots which were so often used to focus the attention to a detail are now out of fashion because they constitute an artificial pictorial
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