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140 PANORAMA
because they can thus show in one and the same shot a man moving in space and the space this man sees out of his own eyes. The panorama can be more subjective and lyrical than cutting.
Unfortunately the modern film uses the panorama also for another reason: because in making the characters move in real space, it can more easily return to the photographed theatre towards which the film is also perceptibly declining at the present time. Hitchcock's Rope is an example of this tendency.
EXPERIENCE OF TIME
It has already been said that the panorama conveys the reality of space to a greater extent than does cutting. From the linked shots we can do no more than infer that they are in the same sector of space or not. All we have to go on is the content of the shots, and logic and interrelation of events and our own memory, even if the film has once already shown us the entire space in which the scene is enacted.
But the panorama never lets us leave this space. By force of identification, we explore it in the company of the camera and our time-sense measures the real distance which lies between the various objects. Space itself, not the picture of space in perspective presentation is what we experience here.
In Dreyer's Joan of Arc, we never see the entire space in which the trial takes place. The camera, moving along the rows of benches, takes striking close-ups of the heads of the judges and by this uninterrupted panoramic shot, measures for us the actual dimensions of a space we do not see. As a result, we are conscious of space all the time we are looking at the procession of close-ups. We see nothing but individual physiognomies, we look into the faces of outstanding personalities and yet never forget that here is a multitude — because we, with the camera, are there among them.
The Japanese director of Shadows of Yoshiwara panned from one object to the other so quickly that one could scarcely see what was in the intermediate space. The objects in between were not important for all the director wanted was to