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there is no longer any need to cut them up into short lengths to create a lively flow of images. They are, after all, the raison d'etre of the whole sequence, so they can be shown at length. The commentary is helping to create excitement : the commentator is speaking his lines quickly and excitedly. The music has changed to a fast galloping rhythm and when it takes over from the commentary (over shot 25) it adds to the action by emphasising the rhythm of the horses' movement.
The four action shots are linked through bridging shots of the crowd and individual spectators (23, 25, 27) because it is necessary to imply the passage of time between the shots of various stages of the race. In shot 24, for instance, the action is moving from right to left, while in shot 26 it is in the opposite direction. A physically ugly cut would result from joining the two together, so the transition is made smooth via the Aga Khan (25).
Under the commentary (over shot 29), the music changes again to a more peaceful theme. The race is now over, the winning jockey and horse are shown and, after the joke about bookies, the sequence finishes with the crowd dispersing.
This example is perhaps one of the most obvious newsreel stories. Yet it presents the problems which are typical of almost any simple newsreel item. The whole sequence is carefully constructed by presenting seemingly haphazard shots on a race-course, and building them up into a complete incident. The fact that the shot of the Aga Khan (12) was taken three races before the St. Leger does not matter ; nor does it matter that the race being shown is not the first of the meeting and that, in fact, a great deal happens between the arrival of the jockeys (5, 6) and the race itself. The main consideration is to keep the story going as fast as possible : a careful examination of this sequence shows that everything is designed to this end.
Hardly anything of interest actually happens before the beginning of the race : to make it appear arresting, no shot is left on the screen for more than six seconds, most shots only for two or three. Again, the constant cutting away from the main action is, as we have already remarked, designed to make for smoothness ; but it is also right as a piece of film-making, because the cut-away — always a very short insert — gives the whole piece a staccato rhythm which helps to keep the sequence fast and exciting. The sound track is kept continually " live " and blares away at a much higher volume than is normal in any other type of film. The commentary, besides describing and interpreting the picture, conveys immense urgency through the pace of the delivery.
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