Theory of the film : (character and growth of a new art) (1952)

CHAPTER ELEVEN PANORAMA Panoramic shots provide changes without editing. The director does not link together the pictures of objects shot separately, but makes the camera move so that in gliding past the objects it takes pictures of them in the same order as that in which they are aligned in reality, even if this reality is only the reality of a studio set. Thus the sequence is not brought about by editing; it already exists in nature or in the studio and the rhythm and speed of change is not the work of the editor's scissors but of the camera movement which sometimes moves parallel to the row of objects to be photographed, sometimes accompanies someone who is moving along and shows what the person in question sees in passing; sometimes it turns on its heel as it were and records the surrounding objects in a circular sweep. This type of changing shot is called panoramic and modern cinematography is making increasing use of it. Apart from other reasons, it can be used more often now because the technique of the tracking shot has developed recently to high perfection. Not only can objects moving at great speed be adequately 'tracked' but the angle and set-up can be changed during shooting. Without interrupting the continuity we can approach or withdraw, raise or lower the camera while 'tracking' or 'panning'. The film likes to use this extraordinary cinematic possibility among other things because it increases the apparent authenticity of the picture, because in moving along with the tracking camera, it enables the spectator to remain in the real space in which the action takes place. The spectator's eye can be a witness to everything, nothing is skipped and the tracking shot cannot 'deceive' as editing can. Such shots are used by the modern film-makers further 139