We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
changes of tempo in the Odessa Steps sequence. Whatever the theory, however, the timing of shots was solely determined by their visual content.
In the sound film this is no longer the case. By timing the picture in relation to the sound-track the editor can achieve a whole range of effects which are not necessarily inherent in either the picture or the sound alone. With dialogue he can frequently carry the words from a shot of the speaker over to the reaction shot ; he can delay reactions or give prewarning of what is about to happen ; he can play sound and picture in parallel or he can use them in counterpoint.
These detailed points of timing are normally left to the editor and sound editor. Often the effects depend on minute adjustments which are difficult to envisage before the material is shot, and they present the contemporary editor with one of his chief problems.
Presentation : Smoothness
Although the process of cutting from one shot to another is comparable to the sharp changes of attention one registers in everyday life, this does not mean that any cut will automatically pass unnoticed. In most silent films one remains conscious of the many abrupt transitions ; in many of Griffith's films one is aware of the constant changing of camera angles and it requires a certain amount of practice and adjustment to accept the jerkiness of the continuity without irritation. Eisenstein, far from wanting a smoothly flowing series of images, deliberately set out to exploit the conflict implied at the junction of any two shots. Against this it must be said that the German film-makers of the late twenties, using a much more fluid camera technique, often made deliberate attempts to achieve a smooth-flowing continuity. (Pabst may have been one of the first film-makers to time most of his cuts on specific movements within the picture in an attempt to make the transitions as unnoticeable as possible.)
Owing to the sound cinema's insistence on realistic presentation the problem of achieving a smooth flow of images is much more acute to-day. Harsh, noticeable cuts tend to draw attention to technique and therefore tend to destroy the spectator's illusion of seeing a continuous stream of action. Constructing a smoothly flowing continuity has, indeed, become one of the modern editor's main preoccupations.
48
It must be stressed again that this grouping of the various