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186 TRICKS, COMPOSITES, CARTOONS
mental process, a subconscious association of ideas, the change-over is a natural process, but not an objectively real happening. If again — this is the third case — we see such a dissolve in a realistic film, then it does not depict either a fairy-tale happening or a mental process, but just means some connection between the two objects, i.e. has a definite meaning. Finally in the fourth case, the burlesque, it indicates the exact opposite of the previous : it is absurd, nonsensical.
Every optical trick can have many meanings. Which of the many possible meanings adheres to it depends on the connection into which the strip binds it. It is always the whole which imparts a definite meaning to the details. Out of the potentially-fraught possibilities of the latent meanings in a single shot, the neighbouring shots select the one or the other. Only in editing is the shot given its definite final meaning.
MASKS
However greatly a mirror may distort a face, such distortion still remains a natural phenomenon, because it arises in accordance with known optical laws. This is true even if the distorting mirror be called 'the soul'.
But a mask is not a distorted face. It is not confronted with a supposed normal face, the face which we still see (even if in a changed form), in the distorted version. A mask does not presuppose two forms and between them a difference which expresses the tension that was the cause of the transformation of the one form into the other. A bent stick may depict the action of some force — a drawing of a semicircle cannot do this.
Puppets and silhouettes as objects for the camera are already works of art in their own right — it is not the camera that makes them so. In most cases the camera merely reproduces them — I say 'in most cases', because the camera may of course increase a hundredfold the expression carved into the puppet's face. But silhouettes or drawings cannot be developed any further by means of camera angle or set-up. In these the film is merely a technique of moving and showing what is there, although the rhythm of cutting may be more perfect than the technique of a real puppet-show would permit.