The technique of film editing (1958)

is introduced, nor does it abruptly end with the last frame of scene 1 or 12. It is carried over and absorbed again into the other elements — only to come to the foreground again later — or it is indicated through the sound (heard with other images) as an element of equal significance. The Danger element, still present after its introduction in Group B, is brought to the foreground again, especially in the continuity of scenes 13-14-15-16. The concentrated and calculated actions of the Driller pushing the pedal which tightens the chain, in combination with the twisted features of the Roughneck watching and trying to hold the chain, show the danger clearly ; should the chain slip, someone might be decapitated. The fear of the boy is shown in his face, continued in the twisted features of the chainthrower in the following scene, and continued again in the next shot of the boy, who finally puts up an arm and hand to protect his face. The element Excitement more or less dominates shot 6, showing the boy and the Driller together, the boy following intently the downward moving pipe-length, but it is quickly replaced by the element Danger ; excitement coming to the foreground again in shot 20 from when on it retains prominence, although always accompanied by one of several other elements. " Co-ordination and skill " come particularly to the foreground in scene 11 of the Driller. Co-ordination in movement between the two Roughnecks in shot 12 and again in the continuity of shots 14-15-16-17-18-19. The catching of the heavy pipe-length, seemingly in the nick of time, the almost vicious chain-throwing (as if to keep the demon within bounds), the swinging into place of the heavy monkey-wrench, all timed to a split-second — as aerial acrobats catch their trapezes, so difficult, yet so graceful. This human skill and co-ordination is carried over in the shots which only show the machine function, but when the block moves up we know that this is only possible because the men will it so. The sum total of the combined elements forces you to accept that these men are the masters of this machine. The deep black, surrounding the derrick, reminds us that immediately outside there is the mysterious semi-wilderness, itself untouched by the mechanisation which surrounds us. The next four scenes (Group E) again form a unit in which " Force and power " are dominant. We see the operation from slightly farther back than heretofore. A combined effort of both, men and machine, is shown : in the image, through the two Roughnecks who are holding on for all they are worth, one to the chain, the other one to the pipe ; on the sound-track, through an acceleration of terrific noise. " Excitement " is here too, because we look upon all this through the wondering eyes of the boy who is no longer scared. In the final group (Group F), " Magic " and " Excitement " are the two most important elements. In shot 25, we see for the first time the boy, all the men and the complete operation, all in one scene, showing us the entity of the total which we are now emotionally ready to understand. It is as if a rising curtain revealed all that might have been partly hidden before, the excitement of the combined effort, strength and skill, and the wonderment of the boy experiencing all this. We will smile happily with the Driller in shot 26 and 28 and are as excited as the boy in shot 30. We have a feeling of accomplishment and satisfaction when the block comes down to a rest in shot 31. Had the total views 25 and 29 been put at the beginning of the drillingsequence to explain to the audience how it is done they would have had at the most an educational value. It would have been impossible to discover so early in the procedure the emotional elements which these shots contain. Successful images such as shots 25 and 29 could be referred to as prize 154