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another speed give it. A slowly maturing action and a suddenly provoked action have widely differing psychological implications. In other words, time is an inalienable element of all human manifestations. Apart from this, the passing of time is in itself one of the deepest experiences of mortal man and an eternal theme of his poetry.
But in epic and dramatic works of art time as an experience cannot be measured by days or hours or minutes. It must be shown in perspective, in the same way as the characters, who also do not move in real space. The time effect is as much an illusion as is the space effect.
The film produces a most interesting link between time effect and space effect; so interesting, indeed, that it merits a closer analysis. Here is a fact corroborated by every experience: as has been already said, the film inserts a lapse of time between two scenes by means of cutting in a scene enacted in a different place. The experience is that the farther away the site of the inserted scene is from the site of the scenes between which it is inserted, the more time we will feel to have elapsed. If something happens in a room, then something else in the anteroom opening into it and then something in the same room a second time, we will feel that only a few minutes have elapsed and the scene in the room can go on straight away. We feel no jolt in time. But if the scene inserted between two scenes enacted in the same room leads us to Africa or Australia, then the same scene cannot be simply continued in the same room, because the spectator will feel that much time must have elapsed, even if the real duration of the interpolated distant scene is by no means longer than that of the similarly interpolated ante-room scene mentioned before.
CONTINUITY OF FORM AND ATMOSPHERE
It is difficult to avoid the use of the interpolated-scene technique and this renders it necessary to make several threads of action run parallel to one another. A film sometimes shows two or three of these parallel actions, which are plaited together into a sort of visual fugue by making each of them appear as 'interpolated scenes' in each of the others. But this