Theory of the film : (character and growth of a new art) (1952)

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244 THE COLOUR AND STEREOSCOPIC FILM for formal reasons, but because colours have an extraordinary symbolic effect, an intense power of evoking associations of ideas and inspiring emotions. Another difficulty in the cutting of colour films is due to the fact that colour lends depth and perspective to the shots. No longer do two-dimensional images slide into each other on the same plane. Colour enables us to distinguish things in the background which in a similar black-and-white film would have been a mere greyish fog. In a black-and-white picture the impression of distance is a negative effect: it consists in our not seeing things clearly. In a coloured background, however, we see quite clearly that such and such an object is far away, and we find it more difficult to withdraw our gaze again and again as the pictures change. STEREOSCOPIC FILMS The stereoscopic film will naturally make the problem of editing even more difficult. One of the essential effects of the old film was the effortless ease of change, rendered possible by the depthless shadows of the black-and-white film. It is difficult to imagine that in the coloured, stereoscopic sound film which will give us a complete illusion of palpable three-dimensional reality, the shots could follow upon each other in rapid succession, with the speed of thought-association. We must also remember that the stereoscopic film which produces the illusion that the figures on the screen are three-dimensional and protrude into the audience, will break up even more that traditional closed composition of the picture which was from the birth of the film a specific trait of the new art. In this respect the stereoscopic film will be even more 'filmic' than the two-dimensional film. But so far as the rhythm of the cutting is concerned, it will demand a very different set of rules, quite new rules. Colour and particularly the change of colour can play a dramaturgical part, can influence the course of the action. It may also have a symbolic significance. In the film by Ekk, already mentioned, the last shot shows the girl waving a white cloth from a tower as a signal. But she is wounded and the