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presented, however urgent the sound accompaniment, its impact on the spectator would have been much less if the dramatic conflict had not been previously convincingly established.
A superficial impression of fast, exciting action can often be created simply by cutting a sequence at great speed. Making images follow one another faster and faster in itself produces an effect of increased excitement and can be used to strengthen the story's interest. But it is important that this speeding up of the cutting should be carried out with the closest attention to the content of the shots. In attempting to increase the rate of cutting, it is useless to look at the absolute lengths of the shots and then arbitrarily reduce them. A sequence composed of shots each about five feet long can, under certain circumstances, appear much slower than another sequence employing strips of film twice this length. Each image tells its own story and must therefore be considered individually. One image will convey all its meaning in a short space of time, another will take longer : this must be taken into account if the increased rate of cutting is not to lead to obscurity. For even if a sequence is to stimulate the spectator's interest primarily through the increase in pace, it is still necessary that each shot should remain on the screen long enough to be intelligible.
For instance, if the director wishes to show an insert of a letter on the screen, the length of time for which he will have to hold it obviously depends on the amount of writing the letter contains. There is a definite length of time which allows the average spectator to read all the words. To hold the shot for a shorter time than this means withholding part of its information ; keeping it on the screen longer means boring sections of the audience while they wait for the next shot. An image of an actor running from one place to another must be shown in full if its complete meaning is to reach the audience. To cut away from it before the actor has reached his destination, because it happens to be desirable that the sequence be cut faster, will mean that part of the shot's information is withheld from the spectator. On the other hand, an insert of a static object — say a close-up of the revolver in the killer's hand — merely establishes that the killer is, in fact, holding a revolver : a few seconds will suffice to allow this shot to convey all its meaning.
Similarly, where a long shot of a piece of action must usually be left on the screen for a considerable interval of time to let the spectator identify the action, a close shot makes a much more direct appeal and is more quickly comprehensible. Thus — and we are here talking in much too general terms to suggest any definite 242