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.
206 VISIONS of the spectator. Greater interest might have been gained for the courtship had it been known to the spectator that Grace was not Bancroft's child. Then speculation as to the outcome might have in- creased the interest in the progress of the love affair. This is a mat- ter that must be decided for each story. Generally it will be found tihat knowledge on the part of the spectator will make for the greater effect. 13. In fade vision as elsewhere, if reference is made to a previous scene, it is not necessary to repeat the action. This will be identical with the action of the original scene. It is good practice to note on this original scene that the action is also to be used in a fade vision. Then the director can make the fades at the proper time. The way to write this is the same as is shown in Chapter XXXIX. This is merely a note following the action of the scene, but here the wording should be: 17. Woods —Mary and Tom enter—stop for a moment—he picks a flower and gives her—looks into her face—sees there the answer to his unspoken question—clasps her to his heart. NOTE—The portion of the scene following the giving of the flower is also used as a Fade vision scene 46. Scene forty-six will appear in the scene plot as being in the same loca- tion as seventeen, but it is better to make a note on the scene itself. If there is a fade only at the beginning or end of the scene and not both, then state that fact. Visions repeating previous scenes merely recall the action and need not be as long nor as complete as the orig- inal scene since the mind of the spectator will supply the remainder. 14. Narrative visions which supply facts not previously known to the spectator must be given in greater detail. Here the use of the fade vision, which permits the use of the full stage, is a benefit since it permits large actions to be more clearly shown. This is about the only artistic advantage the fade vision possesses. It is useful where a story is to be told. It is not so good as the within the frame vision to portray the thought of the person in the scene. 15. Using the vision within the frame, not more than one should be shown to the scene. In the fade vision the alternation of vision and scene is no more marked than any other sequence of scenes. To illus- trate, a scene from a Lubin release is given. A physician seeks a nurse for an insane patient. He tells the applicant the conditions. The fade visions show the processes of reasoning: 3. Street — Auto at Curb —Bill and Clarke enter—Bill starts to climb into car—Clarke says Cut-in —"My patient is as crazy as she is rich." Bill stops—seems to see things—FADE. 4. Fade in —Room—Crazy woman chasing Bill around with a whip —knife in her mouth. FADE. 5 Back to No. 3 —Bill shakes head—doesn't want the job—starts to go—Clarke grabs him—says— Cut-in —"But she is harmless if she is humored."