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182 CUT-BACKS AND FLASHES spectator or recedes from him. This is accomplished through mount- ing the camera and its operator on a truck which is pushed into the scene for a close-up and drawn back to obtain the wider angle of field. This is a useful effect, but it is so seldom employed and so few of the studios now have trucks that it will be inadvisable to require this effect until^ its use becomes more general and even then it will be bet- ter to write in the straight close-up and permit the director to change to the truck if he so desires. 22. In writing close-up scenes it is a mistake to seek to indicate too exactly just what is to be included. Ask for a close-up, but do not specify that it shall be taken with the camera northeast by east, one point east of John's right ear. The director is looking into the actual scene. He can best place the camera. Tell him about the close-up, but give no compass bearings. (2.XXXV:1 & 11) (3.ni:8 XXXHI :26) (7.XXX:25) (11. XLVI:4) (12.L:6) (IS.XXXVH :30) (14.XXX:21 XXXHI :6) (16.XXXVn:16) (17.XXXIX:3-5) (IS.XXXVII :30) (19:XXXV: 1). CHAPTER XXXIX CUT-BACKS AND FLASHES THE cut-back is a device used to bridge awkward gaps in the action, to heighten the effect of a situation through contrasting action or to raise suspense through delaying the crisis or climax. Generally the cut-back, particularly in the second and third capacities, is merely a flash. 2. Strictly speaking a flash, as its name suggests, is a very brief scene; properly about three seconds. In actual practice a flash may be much longer or much shorter. About the shortest flash is a scene flash of six frames, the duration of the scene on the screen being three- eighths of one second. This is a monstrosity rather than a flash, but no more of a monstrosity than permitting a flashed letter to remain upon the screen ten or fifteen seconds. 3. Originally the cut-back was designed to break the action or to cover a break in the action, since it works both ways. It replaces the break leader when it is desired to take the middle action out of a scene and covers this lapse where to remain in the scene would be im- possible. It is also used to shorten the action in a long scene if a con- trast scene will work more effectively than a close-up in the same set. 4. In the former connection, perhaps the scene shows the dressing room of an actress. The play is done and she comes to the dressing room to change to her street attire. ^Manifestly the action cannot con- tinue in that set, and yet nothing further can occur to the advancement of the story until she emerges from the stage door to be confronted by