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Sample text

But at times the storyteller can identify himself with one of his actors. That is, he can sneak into the soul of one of his personsand look out through the eyes of this actor. Then he can shift to the soul of the other actor and look out from there. Let us assume we show a man entering a room where he sees a scene of horrible devastation. The camera then shows us the scene from the point of view of the actor. Or if you have dialogue between an actor who sits in a chair and an actor who stands before him, you can photograph one shot upward, as the sitting actor would see the other person, or a different shot downward, representing the view of the standing actor.

To show the girl in a simple white dress and pigtails would be a correct expression of facts. The realization is subconscious. To show a running back charging into the opposing team’s defensive line and in the next shot a bulldozer moving mounds of earth would be symbolism. But to show the football player reacting to a bulldozer advertisement could be a natural revelation of his thoughts. Enlargement and Composition Until now, we have considered the celluloid band in its entirety. However, as we proceed we find that the space of the picture is subdivided into smaller units which in turn consist of smaller parts which are assembled from still smaller entities.

If we fail to show the elements in which the audience is interested and which are important, we have the effect of hiding somethmg. T h s can simply be a mistake, or the director can gain a new effect by making use of the limited field of vision. For instance, we may be able to gather from the reaction of one of the actors that something is happening. But if we are not shown immediately what is going on, in hiding this important elemerrt from the field of vision, we arouse curiosity. Later, this factor can be revealed as the entrance of another person, as a gun threateningly pointed at the actor, or as a fire newly started.

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