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METAPHORICALMONTAGE 125
The rattle suddenly quickens and grows louder. Now it is the rattling of a machine-gun. Strange tatters of visions, a mosaic of bits and pieces surge up, one bringing up the other by force of some formal or tonal similarity. Nevertheless the string of associations runs in a definite direction. A rubble of war memories — wheels of a gun . . . sewing-machine needle . . . bayonet . . . convulsively gripping hands . . . The sequence irresistibly carries along the soldier's unconsciousness and drives him nearer to the breaking-point, to that spectacle of horror which made him lose memory and consciousness, in order that he may find himself again and continue his interrupted existence.
This was an example of how the film can show an inner picture-sequence of associations, reproduce a mental process. Now I would like to quote an example of the opposite process, when the sequence shown in the film does not reproduce the chain of associations in pictures, but suggests it, starts it off and directs it into a definite channel. By this means the film induces in the spectators thoughts and emotions it need not itself explicitly express.
METAPHORICAL MONTAGE
Griffith already used this method. For instance he showed in one of his films how the yellow press can and does ruin the reputation of a woman. He showed the immense technical plant of a newspaper with a world-wide circulation. The immense machines break into the shots like tanks advancing to the attack. This striking resemblance grows into a simile, into a train of associations. The rotaries throw out the papers like quick-firing guns their shells. This simile is evoked by the frightened face of the woman, cut in between the huge machines. Our train of ideas is already under way and the associations suggested by the montage endow the printing machines with wicked, malicious faces. The bundles of newspapers running towards us on the creepers seem an irresistible avalanche which finally buries the terrified helpless victim — whom we see again and again, cut in between the raving machines, until at last the woman is lying limp under the