the lifelike acting of an actor is built, not on his repre­senting the copied results of feelings, but on his causing the feelings to arise, develop, grow . into other feelings­to live before the spectator. Hence the image of a scene, a sequence, of a whole creation, exists not as something fixed and ready­made. It has to arise, to unfold before the senses of the spectator.

packed into one ,vord like a portmanteau," concludes his introduction to The Hunting of the Snark: For instance, take the two words "fuming" and "furious." Make up your mind that you will say both words, but leave it unsettled which you will say first. Now open your mouth and speak. If your thoughts incline ever so little towards "fuming," you will say "fuming-furious"; if they turn, by even a hair's breadth, towards "furious," you vvill say . "furious-fuming"; but if you have that rarest of gifts, a per­fectly balanced mind, you will say "frumious."

This property con­sisted in the fact that two {ihn pieces of any kind, placed together, inevitably combine into a new concept, a new quality, arising out of tbat jux!aposition. This is not in the least a circumstance peculiar to the cinema, but is a phenomenon invariably. met with in all cases where we have to deal with juxtaposition of two facts, two phenome�a, two objects

Why do we use montage at all? Even the most fanat­ical opponent of montage will agree that it is not merely because the film strip at our disposal is n�t of infinite length, and consequently� being condemned to working with pieces of restricted lengths, ,ve have to. stick one piece of it on to an<;>ther . occasionally .