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.
leaving the characters — as they normally would be — sitting or standing more or less stationary. Secondly, the editor is given a great deal of freedom in cutting the scene in a variety of dramatically effective ways. He must judge the right point at which to cut from the establishing shot to one of the close shots and has an infinite variety of possibilities of timing the cuts between the individual close shots. Often he does not cut the dialogue track at the same point as the visuals, that is to say, he does not show the speaking characters all the time. (It is, of course, frequently more important for the story to show a character reacting rather than speaking a line.) By a variety of small tricks of presentation — by the choice of the exact moment in a scene to cut to a close-up, the timing of delayed reactions, the overlapping of dialogue, and so on — the editor can accentuate and control the drama of a given scene. Often, by a suitable timing of words and images, he can produce dramatic overtones, which the visuals alone did not have. Here is a simple example, chosen at random.
TOPPER RETURNS1 Extract from Reel 2
This is one of the Topper series of comedy films. A rather slight but gruesome murder plot forms the background for the comedy action.
The grown-up daughter has just arrived in America and has been greeted by her father, whom she has never seen before. She questions him about the death of her mother. So far everything has been perfectly straightforward and amiable between them. A doctor, who is present, has previously warned the girl not to excite her father too much since he is very ill.
Ft.
1 M.C.S. Father. He gets very Father : I excited towards the end of his My partner was a man called speech. Walter Harburg. One day he
was showing your mother through the mine, when suddenly there was an earthquake, the tunnel collapsed . . . Doctor : (off : a deep, authoritative voice)
You've talked enough, —
2 M.C.S. Doctor. — Mr. Carrington. 3
3 M.S. Father, daughter and doctor. Doctor : (continues amiably)
I'm sorry to interrupt, but we must not tire your father.
1 Director ; Roy del Ruth. Editor : James Newcom. United Artists, 1941.
87