ABSTRACT
It is also possible to dispute fundamentally the 'imperfect methods of cinema'. The statement is essentially right in the particular instance of the question of montage (although it does, of course, 'misrepresent' things a little): 'the principal and sole method which has led cinema to a position of such great influence is montage.' But even in the field of montage we are far from having achieved everything in respect of rhythmic sense and, if you like, of literacy, because the montage of our films is constructed mainly on intuition, with no regard for the laws of rhythm, tempo and
metre. We are rationalising the organisation of our films and we shall significantly improve their artistic value (including their montage texture) when the production of a film has not just an author's and a director's script but an exemplary montage plan, a montage score. From this a straight path leads to an organic composition of visual and sound images.
