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IDEA-ASSOCIATIVE EDITING 123
method is not the only means the film possesses for the presentation of the lapse of time and of these more will be said later. At all events the director, when he arranges the sequence of shots and determines their length, has to consider not only the contents but also the physiognomy and subtlest atmosphere of the neighbouring shots. He must not only see that a physical gesture begun in one shot should be continued without interruption in the different set-up of the next shot — mental movements must also flow smoothly from shot to shot — if they continue at all.
CREATIVE EDITING
Even the simplest narrative editing, which has no other purpose than to collate the shots into a sequence which makes the story clearly comprehensible — that it, a mere arranging the shots in their logical order — is already to some extent artistic creation. If everything the film-makers wanted us to know were already visible in the separate shots, such simple aligning, story-telling editing would have nothing more of its own to add. In this case no use would have been made of the great power, inherent in the editor's scissors to induce associations of ideas and to help us understand the story of the film. Editing can, however, be genuinely creative and convey to us something that cannot be seen on any of the shots themselves.
A simple example : We see someone leave a room. Then we see the room in disorder, showing the traces of a struggle. Then a close-up — the back of a chair with blood dripping from it. This would be sufficient. There would be no need for us to see the struggle or the victim. We would guess it all. The editing would have given us the clue.
IDE AASSOCIATIVE EDITING
This technique of idea-associative montage was developed to a very high level in the days of the silent film. It provided very subtle films for a public of greater visual culture and greater sensibility. We learnt to notice and interpret the slightest details and relate them to each other. Objects not shown but