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TIME PERSPECTIVE 145
sible things. For instance the shot of Furmanov's departure in Chapayev has a profound lyrical content: the tragic darkening of Chapayev's mood, his sombre presentiment of disaster. But such things are after all not objects which can be photographed; they are invisible emotions, an invisible atmosphere which the slow darkening of the picture nevertheless expresses by visual means.
The process of thinking, the process of recalling things to one's memory is not visible. But by the slow fade-in of a picture the camera can lend it a visionary and visual character and convey to the spectator that the pictures shown are not those of real objects but of images of the mind.
TIME PERSPECTIVE
Fading out a picture can also convey the passing of time. If we see a ship slowly disappear from view on the edge of the horizon, a certain passage of time is expressed by the rhythm of the picture. But if in addition to this, the picture is also faded out, then to the feeling of time-lapse caused by the disappearance of the ship in the distance is added a feeling of further and scarcely assessable time-lapse. For now the shot shows two movements : movement of the ship and movement of the camera diaphragm. Two times : real time of the ship's disappearance and filmic time produced by the fade-out.
What we call 'filmic time' is a time effect comparable, in terms of space, to perspective. The outlines in a picture show space in perspective; certain modes of movement in the shot show time as it were in perspective. An analysis of these effects is most instructive for both film director and psychologist.
If the film is to show the passing of time by means of a cutin shot, then the cutting-in of a motionless picture suggests the passing of more time than a picture in which motion is present. If after a dramatic scene a moving shot — even one showing some other place — is cut in and then the picture returns to the previous scene, the spectator cannot have the feeling that many years have passed in between. The reason for this is that visible movement has a real duration which gives the impression of real time. But if a motionless object,
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