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SPEED OF ACTION AND OF CUTTING 129
idea that the world of purely conceptual thinking could also be conquered by film art.
This is not to say that the art of the film cannot convey thoughts or achieve effects through thought. But it must not merely suggest them, it must express them explicitly, in film-language of course. The film can evoke thoughts in the spectator, but must not project on to the screen ready-made thought-symbols, ideograms which have definite, known conventional meanings, like a question mark or exclamation point, a cross or swastika; for these would be merely a primitive picture-writing, hieroglyphs, that would be less convenient than our alphabet and certainly not art.
RHYTHM IN MONTAGE
The editing gives the film narrative its style, speed and rhythm. It may flow on calmly, with long scenes played out to the end, with landscapes and settings only meant to be looked at, with weighty, slow-moving picture material. But it can also dart along with the swift rush of short-cropped detail shots. The dramatic rhythm of the story is transposed into visual picture-rhythm and the external, formal rhythm steps up the speed of the internal drama. The movement of the shots has the same visual effect as the gesturing of a narrator.
This short-shot rapid montage as expressive rhythm was much used by the early silent Soviet film. It often effectively conveyed the feverish pace of revolutionary happenings. Such accelerated cutting, in which the shots flash past our eyes in seconds is possible only if we are able to perceive and identify the objects depicted on them. This we are able to do only thanks to our fully developed new filmic culture, our rapidly reacting sensibility for things filmic. And such rapid cutting has its own dangers: if it is not the expression of a racing internal rhythm, it easily becomes an empty formality, a banal technical trick.
SPEED OF ACTION AND SPEED OF CUTTING
These are quite independent of each other, and very subtle
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