He knows that this particular construction will evoke in the perception more than mere information of the hour of night.

in their combination and Juxtaposition, shall evoke in the consciousness and feelings of the spectator, reader, or auditor, that same initial general image which orig­inally hovered before the creative artist.

Before the inner vision, before the perception of the creator, hovers a given image, emotionally embodying his theme. The task that confronts him is to transform this image into a few basic partial representations which

Another example that I will cite is quite typical for cinematography, no longer concerned with an individual object, but instead, with an image of a whole phenom­enon-composed, however, in exactly the same way. This example is a certain remarkable "shooting­script." In it, from a cumulative massing of contributory details and pictures, an image palpably arises before us.

He rejects not merely the exaggerated representation of ac­tuality, but even the representation of actuality in en­tirety! In its place he counsels suggestion. But what is "suggestion" if it not be an element, a detail of actuality, a "close-up" of actuality, which, in juxtaposition with other details, serves as a. determination of the entire frag­ment of actuality?

faced with the task of present­ing not only a narrative that is logically connected, but one that contains a maxhnum of e1notion and sthnulating power. Montage is a mighty aid in the resolution of this task.