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146 EXPRESSIVE TECHNIQUE OF CAMERA
a rock, the surface of a lake or something similar is cut in between the moving scenes, it can make the spectator feel the passing of a very long, of an undetermined time. For the picture of a motionless object gives no visible measurable duration : it has no dimension in time, hence it can represent any length of it. Mountains, the sea, etc., awaken the association 'eternity' not because they show a great deal of time-lapse, but because they show none at all.
PSYCHOLOGY OF THE DISSOLVE
If a shot shows a young face and immediately afterwards the same face in old age, we feel an improbable jerk, possibly do not even recognize that the face is the same. But if the young face is slowly dissolved into the old, then this opticotechnical device suggests the time that has elapsed. It does not show or reproduce the passage of time, only suggests it. Here again the narrator, the maker of the film speaks to the spectator in the first person by means of a camera mechanism.
The dissolve between two shots means a deeper connection between them. It is an accepted convention, expression, turn of speech in the language of the film, that if two pictures slowly dissolve into each other, the two are bound together by a deep, dramaturgically important, connection which may not be of a nature capable of being expressed by a series of shots depicting actual objects. The technique of the dissolve permits the placing of lyrical and intellectual emphasis where required in a film.
TIME AND SEQUENCE
In a film entitled Homecoming, Joe May once showed the long wandering of two escaped prisoners of war. And how did he show the devouring infinity of that journey across the endless plains of Siberia, along the endless highways of Russia? How many landscapes, how many towns and villages would he have had to show, if the spectator was to be given so much as an inkling of the endless distances and endless years? Joe May was wiser than that — he showed none at all. We saw no