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.
operation is over, a montage sequence follows, employing shots of explosions and fighting, superimposed over a map of the battlefield and implying that a similar story is taking place all over the island. The sudden switch from the personal drama of the story to the journalistic montage does, no doubt, put the story into a larger context ; it also brings with it a chilling anticlimax.
For this reason, the pure continuity-link type of montage sequence has been increasingly falling into disfavour. Wherever possible, directors have in recent years tried to avoid the standard montage images — falling leaves, calendars, train-wheels, all well-worn cliches by now — and have tried to imply necessary transitions in more economical ways. The long unnecessary sequences of locomotives, wheels, rails, etc., used to convey a character from one place to another are usually quite superfluous : a hint that the character is just about to move, a dissolve and an establishing shot or remark at the destination is usually quite sufficient. Similarly, a passage of time — so often conveyed by flapping calendar-leaves — can often be conveyed quite simply through a trick of phrasing, a cut-away to another intermediate scene, or by simply changing the season or clothes of the characters in adjacent episodes.
If the purely utilitarian montage sequence has been used too frequently, then the script-planned montage which makes a dramatic impact has, if anything, been used too little. There have been hints in a number of films that the montage form can lead to remarkably interesting results when it is applied in an intelligent way. There is a whole range of dramatically auspicious situations to which montage is peculiarly suited or which cannot be conveyed by straight narrative. Here is a rather unorthodox example.
CITIZEN KANE1
A posthumous biography of a newspaper millionaire, Charles Foster Kane (Crson Welles). It begins with Kane's death, after which the editor of a " March of Time "-like newsreel sends out all his reporters to interview Kane's surviving friends. Thus we, are taken from interview to interview, in each case the story told to the reporter being shown in flash-back. At the end of the film we are able to piece together Kane's whole life.
The extract quoted below is the flash-back of an interview with Jedediah Ley I and (Joseph Cotten), Kane's oldest friend. He is telling the story of Kane's first marriage to Emily (Ruth Warrick), a niece of the President of the U.S.A.
(Bernstein, who is referred to in the dialogue, is the editor of Kane's newspaper " The Enquirer " and is decidedly not of Emily's social standing.)
Director : Orson Welles. Editor : Robert Wise. R.K.O., 1941.
15