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148 EXPRESSIVE TECHNIQUE OF CAMERA DISSOLVES AND SIMPLER STORIES
If a figure we have seen in one scene appears on another scene without intermediary pictures, by simply cutting them to follow each other, the spectator will consciously or subconsciously wonder how it got there. Such primitive alignment is apt to strike us as clumsy, as bad technique. But if we dissolve the first scene into the second, no one is likely to jib at suddenly seeing the same figure in another place. For in this case we are no longer passive onlookers at a spectacle; we witness the visual intervention of the film-maker in the course of the story and he, the film-maker, invites us to participate in this intervention which changes the scene and causes time to pass.
It is in many ways of advantage to get rid of the necessity of parallel actions by this means. It simplifies the progress of the story, a necessity for modern psychological films which can thus concentrate more on the main action in which the leading hero is concerned.
Dissolve technique is appropriate where the director wishes his sequences to flow in a smooth, epic stream. If the story demands sudden dramatic stresses, cross-cutting and the parallel actions it involves will be more appropriate.
DISSOLVES AND THE LINKING OF SPACE
It has been already said that a dissolve between two shots always and inevitably produces the feeling of an essential connection between them. If two scenes are dissolved into one another, the figure which appears in both provides the visual link. In such cases it is advisable to make the figure visually striking, so that its surroundings can fade away from around it as something less material than the figure itself, which seems to change its surroundings as a man changes his coat.
A frequent well-tried device for achieving this is to show the figure in the foreground in sharp focus while the surrounding scenery slowly pales and the picture narrows around the figure, thus first lifting it out of space before the iris opens again on another scene.