The technique of film editing (1958)

regarded as equal units, and function as elements of equal significance in the choice of shots and their continuity. Because a collective calculation of all the shots' appeals is used in making the continuity of the oil-drilling sequence, it is impossible to dissect a part of the sequence, scene by scene. The original thought process cannot be traced in purely rhythmic or external observations. Nor can the sequence be analysed abstractly — out of context with what precedes and follows. Aside from the afore-mentioned factors, its content and composition were also determined by previous appearances of the derrick and influenced in turn the form of later sequences in which the derrick appears. As we are on the derrick in the midst of the operation, a certain atmosphere is already established, the foundation for which has been laid and then developed throughout the preceding sequences. To explain the quality of this atmosphere we will have to go back a little. We see the derrick for the first time in the film when it suddenly appears against the horizon, far away, moving slowly. The music interrupts the boy's theme and changes to a majestic chorale. Neither the boy nor the audience knows yet what it is, but it is something new, something strange. A note of suspense is still lingering in the air because slightly earlier, strange people and a strange, tractor-like machine, which could ride on the water as well as on land, have been invading the marshes. When they left, all that remained was a stake sticking up from the bayou-waters. No one knew exactly what it was (actually it is the precise spot chosen by the oil-prospectors for drilling, and it is here that the approaching derrick will settle down). As the derrick comes nearer we are only shown some beautiful details such as the web-like structure of the steel girders, the general activity of the tugboats pushing and pulling the structure, and the flotsam gathering on the water. Finally we concentrate on the stake and the reflection of the derrick in the water, leaving our thoughts with these last two images. A promise is given. In the following sequence we approach the derrick cautiously with and through the boy. The derrick has now settled over the stake which is no longer visible. Huge steamclouds are billowing up the steel girders and for the first time we hear the throbbing of the powerful pumps, the heartbeat of the derrick. (Whenever the derrick is functioning in the film, this heartbeat is heard. It is the identification of the living derrick. When this heartbeat suddenly falters and then fails in a later sequence we are immediately aware of impending disaster.) Instead of being shown immediately the operation of the derrick, we are introduced to some of the men on the derrick, men who make friends with a little boy whom they meet perchance. Through their questions, where he lives and how he caught that big fish, their human qualities are unfolded and we, through the boy, become friends with the men. No premature exposition of the derrick's functions has been imposed upon us, nor are these functions hidden from us : through the boy we are invited to come aboard and, through the boy, we decline the invitation for the time being. The introduction of the human qualities of the Driller and the Boilerman are important here. They set the stage for a feeling of familiarity and trust. When we are actually on the derrick for the first time, we are merely observers. In the first group of scenes (Group A) we are shown the changing of the bit. The old, used one is taken off and replaced by a new and sharp one. This is intercut with scenes of passing oil-barges and scenes of the boy in his canoe on his way to the derrick. We are also shown the Driller who pushes a lever, which causes the bit and the attached pipe-length to sink 152