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PARALLEL ACTIONS 253
In this respect, however, the film script is related to the epic rather than the dramatic form. The film, like the epic, is not bound to maintain the illusion of unbroken continuity, — such continuity is not even possible. In a film scene all the persons present at the same place not only need not all be visible in every shot but to show them all, all the time, would even be contrary to the style and technique of the film. The public has the illusion that the participants in the scene are present, but they are not always all of them visible. In ceaselessly changing short shots and close-ups we see only those whose face or words happen to be needed just then. The film can lift such a figure out of the greatest crowd and devote special attention to it, penetrate deeply into its emotions and psychology. In this the film and the film script are related to the epic.
The film can interrupt the continuity of a scene not only by not showing all the persons in a scene all the time — the whole scene itself can be interrupted, the film show a different scene enacted in quite a different place, and then the previously interrupted scene can be continued. This is inconceivable on the stage. The possibility of showing in parallel sequence more than one simultaneous action is a quite specific feature of the film and hence a specific possibility of the film script as an art form.
The unity of space thus binds the film even less than the least form-bound of dramas. For the drama cannot in the middle of a scene show another scene enacted in quite a different place and then return to continue the original scene. The law of the unity of space does not apply to the film at all. But the unity of time all the more so. For even if we interrupt a scene and the interpolated scene is enacted elsewhere, it must not be enacted at another time. It must happen neither sooner nor later, but at the same time, else the audience would either not understand what was going on or would not believe it.