We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
184 CUT-BACKS AND FLASHES before we can get any dramatic effect from the scene. This will be somewhat the manner of playing: 49. Stage door —Gerald and Elinore enter from theatre—Xestor steps out of shadows—confronts her—she steps back—he looks at her—she recognizes him—clings to Gerald—Gerald shoves Xestor out of the way—he falls to sidewalk—Gerald and Eli- nore exit—Xestor rises slowly—follows—limps slightly. Delaying the action a trifle, we get the full value of the scene. 5. In the last chapter we showed how the use of the close-up served to break the action of a scene that ran too long. Instead of using the close-ups or leader as suggested there, we use a cut-back to get around the long speech. Naturally the most effective contrast will be a showing of the other political headquarters, so we write: 35. Parlor —Club assembled—Mrs. Brown enters with Belding— introduces him—mild enthusiasm—slight applause—he starts to speak. 36. Opposition headquarters as in Xo. 6 —Dugan, Lugi and Carter on—talking—Jake brings in Bill—they speak—Bill given pack- age of monej'—Bill turns to exit—Dugan asks him to have a drink—Bill turns back, wiping mouth with the back of his hand. 37. Back to No. 35 —Belding concludes speech—all now enthusiasm —women crowd about him—promise their support—all exit, still surrounding Belding. who walks with Muriel. In this particular scene it will be noted that the contrast is not as effective as the close-up, but this depends upon the nature of the scene and does not form a rule. 6. Sometimes a leader will be too intrusive when used to break and a cut-back will be preferable. This is particularly the case when the action is tense and the interruption of a leader will break a tension that it is desired to maintain. Suppose that a street scene shows a fight between John and Henry. You are afraid that the fight will be so vivid as to engross the attention of the censors and result in the pro- hibition of the scene. Here you cut back to break the scene, not to some contrasting, but if possible to some related action. Suppose you try something in this line: 14. Street —John and Henry meet—they quarrel—John raises cane to strike Henry. 15. Street close to above —A few people running toward fight. 16. Street as in A'o. 14 —Henry lies on sidewalk—John stands over him with cane—people run in and grab John—Policeman en- ters—arrests John—takes him out of scene—others help Henry. There is less objection offered to the suggestion of a fight than to the actual physical action. Cutting back m.ay save the scene. If you can not use a crowd, perhaps you can cut to some single person who over-