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SCENECH A NGES WITHOUT MOVEMENT 149
Narcosis
In one of my own films, Narcosis, there was no cutting at all because the style of the film demanded the rhythm of shots softly blending into each other. When the hero in that film was about to go on a journey, we saw a close-up of his suitcase ready packed in his room. Then the picture narrowed to show only the suitcase, while the room vanished. The suitcase slowly began to vibrate. Then the diaphragm opens up again and the vibrating suitcase which had never for an instant been lost to our view, was vibrating in the luggage-net of a railway carriage. We were on a train in motion. The camera panned from the suitcase to the seats. Our hero was already sitting on one of them and travelling.
The heroine stood deserted and disconsolate in a street. The diaphragm narrowed to her hands, which were kneading a tear-soaked handkerchief. In a slow dissolve the handkerchief turned into a white rose. The hands remained the same. When the diaphragm opened a bit more we saw that the hands were tying roses into a bouquet and when it opened fully we saw a long-medium shot of the girl serving a customer in a florist's shop. Such dissolves show not merely two situations, but can convey the broad epic flow of a human life, a human destiny. One must, however, use this method sparingly, otherwise it easily degenerates into an idle, pointless formalism.
CHANGES OF SCENE WITHOUT MOVEMENT
The most frequent form of this type of dissolve is that the last shot of a scene is a close-up in which only a single face or hand or object remains in the frame, being thus lifted out of its space. This last shot of the scene is at the same time the (first shot of the next scene, which emerges as the diaphragm is opened up. The object shown in the close-up has not moved and has remained before our eyes and the new surroundings appear behind it — behind the shot as it were. By this means such a change is experienced by the spectator in his own person. We see no physical movement, we see no locomotion of any kind and so the reality of time is absent from such changes