‘The concrete element i she elaionship betes fly ad Ue scree the sreenplay Tam nor concerned bomevey with observing ‘hemedatngtuneton of the srcenlay and Ue crea elaboration ‘the literary work which underly, “guacivelyintegreine Sth she equally ec perspective the enematowaphe Work Ivhich it presupposes in his uote, hat interests one about she screenplay i the ma sent in which ca be considera atonomos techie ‘ror complete and finshed felt Let consider theses of 3 Titers stipe wich sot taken rma anal or—for ane 0900 OF Tother—slted into fim, "This case oles ura autonomous scrip that can represent an ‘actual chee of the author very well the choice ot narrative eehnigue ‘What the standard of clusion or such a work? Hane sms cesta belong completly riing™that nothing more than the product of asp of writing’ whose fundamental element thatof wring though the technique of the screnplay—then ‘nus be fudged is he usual way am whic Ierey products ate fed and precisely ss 3 ew ray ent," with sparc ‘rosy an son metrics ee. ee But in so doing. one would pstoom an etronens and arbitrary stil operation i there int te continuous aan tou develop ing cinematographic work. ie bo longer 4 echnigue, and ts fppearance ss stecnplay ts purely 2 pretest a stanton hich hs yet to occur thorlre, on utbor deciles wo elope the “ce igo” ofthe sercenplayas autonomous work emus acepe atthe Samecime theallusion toa "poteatal einematograic work wth tue wih he eehnague he Rat adopted etna and halls ‘dace int heaton mo etry ning Th inwend he accepts the alison to. potential” vsualiable ‘oneratigaphic work s substantive lament, ay structre of his ‘wark i the tr ofa serena ten ean esd that hk wv 1s hah typical st has sopects that are tal sii tll Atul, Fugctnalsxcenpla| and suronomous atthe sane te Such s moment exists sal screenplay of hgh Guy lms thacis all sreenplays have a moment in which they ate auton8 surieaenticsemesa mous “echniques whose primory srtarl element i the ite ating ielerence oa potential cinematographic work inthis sense scr uf sercenlay au an autonomous tech nique will obviously require paula conditions so comple, 30 prdstermiaed by an dcologeal tangle which bas oo conaetions Ether with taal Iierary etiam or wih the recent sition ‘of film ecm, hati wll Ataally require the asistance ental new ees Torexample, sit posible employ the code of stylistic etic inthe analysis ofa “creenply"t may be sha tis possible but Subjcting eto series of reulvements that that cole had nat leary fyesen to such degie hat st cam ly petend to covet them infact if he hstlogiel examination of srl taken fort ‘the body ofa screnply iv analogous to whats performed upon 4 Ievary wk, ve depries the sccenply ofits character hich a ‘we hive sete, it tubwtanive: the listen fo « potest] iar “atogranhic work The steric examination has under sees the form tae cas Ic aso extends a dagestc veil over what could know in advance, otto mention Over what it dosent ell know, otony ar knowledge, but x3 working hypothesis “The servation onthe infinitesimal etal hat rpeoduces che whale which leads to 4 hstoicoculturalredefisiion of the ‘work-oill always lick somthing in the ease ofthe nereenpay, ‘hat isan ineral clement of form, an element dats ot thee hates "ste for orm” Once having become aware ofthe problem, i is probable that = seylise cam adapt his tnvesugation ct; however the esseatlal harstenstic of stylistic erticism, Hue of working on conerete ‘ater i evoked: in practical terme one cant persis "sie for form from det of the form. This desire must be \colgialy presupposed, must be pat the ential code In the eas seis only a wus a Jymumic tate not made omerets is likes frgment of erength without destinton, which = fans lated inca courseness and Incampletenes of oe, ram which te stylist can nly dolce a comsenes and neompleeness of the ‘mrire work’ and perhaps deduce ite quality ax skecc, potential Veo, et ec Ad ins dong he has ot focused onthe coreet {itil pola which ams instead frtee and pes such aco clusion as an inearatng par ofthe work, a ns sretutl charac: fensue ete, ee) “The foremost characteristic ofthe stn of dhe technique of the sccenply i thot of eluding to meaning thr to diferent athe betich | simultaneous ond converging Tat the sino {he screenplay stereo the meaning according tothe real patho ler Languages, adm pater of httary rps, ue at the same ume shits at that same meaning. forwarding the advessee to another sign. that ofthe poteal im Each tz out bein, ‘Sontonted bys sgn of he steenplay, amultancouly travel hese ‘Seo pathe—one pd and nonmal std he het ong and special onder to understand ts meshing nother words the author at's secenpay asks his abesee fora parila eolaboration: namely that of lending tothe text 4“ ‘Ea completeness which dots not have Bota which I hint. ‘The eadr isan accomplice immediately~in the presence ut the nnmeiiatly ited characteris of he steeply i the op tion which is rucsted of him--and his epresenatona mains tion enters into\sezeatwe phase mechanically much higher and ore intense shan when he eds 3 nove The echnique of sereeawrtng. 8 predicated aboe all on this ‘collaboration ofthe reader: ands undrsto tha pletion ‘Sonsietsin fling ths fonction Jo collabortion| pricy. form, it style, are prtect and complete when they have snloded Gnd Integrated these necesstes ino tetsves, The impression of ‘Gharinens ad of incompleteness s thus apparent. This coursencss nd ths incompleteness te stint elements: "at ths point a conflict takes place among the various aspects under whith "signs presented The sgn the same ime fal Ibhoacme) written Urapheme! and ssl [kinemel. Though at {heslulsble sree of conditioned reflexes of our myers eyber eis, we always have smultancousy present these dllerent as pcs of the linguistic "in" which in shertor one and thee I we elog tothe class which holds cultorecapive, and shenelore west Idee knoe how toad the “apimes appear mmesaely 0 a simply a signs" ininitely enced by te suntan presence tthe phosemes” and ther “hinemes “Thereare certain "wring alcady nthe ation which require ofthe reader am operation sila t the oe which we have de Sevied ove for ample, the writings sysabolist poetry When treads poet by Malm or by Ungaret nthe presence ofthe “Noanhemey that ae at that moment in front of our eye he li onrne donot mit ourselves to 4 pure and simple reading the fext requires us to cooperate by “pretending” to heat chose ap ‘mes scousuclly tn ther word, sens s back to the poner, Sikich sre simultaneously presen in out mind even we a not ening sloud A vere of Mallarmé oof Ungaret asin its mea fing only though a semantic expantcn, or an exgulsie bathanc ‘teen of the indivi] meaning bic obtained wou the ‘Supposed musicality ofthe word oro the nessa he words That fs, ivng denoetuons not through partculor expressivity ofthe ‘on bo through «prvarication fits phoneme While we tex, Weth intcaate i this manner te aberian naning of the pci ‘aati at a ean TERR there ens penemesmeamen “Fre tame thing occus in tercenplaytets ets go ahead ad ams tne ears He fo, the flr tates the Jere Bete lhe wrt te wren lowing wo eRe somal sigmmeaning so the arma ss Einme-meanne srs of the sepa i thas charcterced by the ct cttuion fon of tet ements oth Which ‘mae tebomemes os Hse She ine ae prod mages, visual moma iwhaoneeaes nc ora The ate bry Stkecannason lhe nomen tke pun ths cording of Ries" not Ierany seca ane ane rbestedon stem ines SPR ano eh Mn vale eed by Miho etwen o spoken fetsangute (he im met in patsy oe ined ttn tala Tangate leash hear aaken oe rte, meet ce an SREOES component lo sen by ansey tothe rane ats Reyatay alse vac yt geneity «ngs AEN hasnt wwe sal oS Foci clomen’—tdestion tat hs hal only + supe Tenet jo wor cau ofthe the pobies SSRIS easly ws town stn a al rata then clement” tends pst 0 ‘Rote ci eahngn, pea by analogy on the wt ete tenho wt ru anges Suh bo Te Sules which inden the psene the most uch dou sn fpr sansa "coe hein ter aoken ngus soe ofthe lene of thesia above ll hone estan n> caahscctnn sen th we at ocd fo pcg the wo 3 ‘erp tea pene s gae His'lngec se knee th ah ar excl ane most, seat ale msg at acing. the hie {SRR Zid tom he tber to apt the wos Be {pe i suonomnanselsulBoen st "hat ics undoes masa which we define a the st ind af cor om sh SMELT ero we he se eon see Beis mins soc ncrry nuelt makings contin Assn octal teen lim ad epee wits isang ta ened the mene rd BY analogy and we have bulle upon tis premise a sot af surrepitios ‘tammar, rately atctcntlly andi some way sensasly a oust tha of witterspoken anguaes nother words we hate in ‘ind avery vague ade of then sign tat we generally Meni ‘withthe word Bue the word sa noun ve, a tection, Imertopaive. Thee ae languages in which nouns predominate ‘thes im which verbs predominate. In ur common Westrn lan tapes language consist of bance of eins eaetanives) fndof acon vet ete, cle What ate nouns, verbs conjunctions feecrctions sm cinematographic language” And. above aly eit Iecesary thatthe ens in obedience to ou law of analogy and stom’ I einem is another language, cannot this unknown ia uae be predicated on laws that have nothing tn do withthe tn ust as to hich we have become aecustomed ‘What isthe inesign physically! A ame! A given suber of framest A plurielaa eng of eames! A meaning sequence of fess that hs a cet drstio’ Ths sl remains tobe deeded ‘And it wal no ben we have the dita to waite a patna of ‘lnema To Sa, for example, tha the lnesign or the monad of ‘inematograpic language is “eymaneme, hat coordinated tho of frames, isl aba In te sme way se eieay 0 ‘Sy for example that cinema ta totally “verbal Language that ‘hae cinema there are no nouns, conjunctions, mterections les hey aone with verbe And that herctore the mle fli, the im-sign, fa poup of images in movemene whose duration Indeterminale,shapeless, ad magmatic A "apmatic” amma by definition, therefore, tobe deserted through unusual pags hd chapters in he writen spoken gratnnar. Whae sot arbuay i to say instead hat cinemas predicated on system a tne which diferent fom the writen spoken oe, ‘hae tha cinema is anther language. Tut ts mot another Language the sense hae Banu is diferent from Italian or example=to jutespone to languages ‘which ate Placed vn juataposto only with diffi. And thin dos make fense ifthe wansiauon aso implies an operation analogous to what, tee have sce for he sezceaplay teat and foreeeais forme of wet Sicha symbolise poetry He requis sm other words 3 spec fallaboration on the. part of che reader, and its signs have to thannel of elerece to the meaning Tab odo withthe moment ‘of literaltanlation withthe text on the facing pag Ion one page twe ac the Bantu text and onthe her the aan text he pte of Uh alan ee that we perce exceate ha double arom that oly ‘xtemely refined thinking machines such soba ean follow Imother words, they convey the meaning direct ithe sin palm tte" tha inlctes he palm ree) and ndecty, sending us backthe Rants sigh that indicates the seme palm te in a diferent ovchophysial or eultcal world The reader nary des not Understand the Bank sig, eich or hum tsa dead Itc, howe, Ine perceives leat thatthe mesning comseed by the sgn “all thee” amuse be integrated, moditied. How! Pecaps without Knowing how by that sayterious Baa sghInany east feeling thar iemune be moi sn some way does mol The operation (of cllaboraon between the tanelator and the reste ss do the sige meaning, ad sgnesgn of ancter iprmtvel language The example of prime Language approximates what we want to say about ln tht primitive lngsage tn facto hss structs immensely diferent tom our, belonging Ie uk suppone, to the ‘roid "untamed thouphe” However the “untamed tought” si Ueland thre ea fundamentally enc sractare sn ou angus tnd in pimitive ones oth are constiated of lin-sigsand are Thetcore reciprocally compatible. The two respecte graMDars have analogous designs. [Se we we are wed to suspending out fpamatial habits Aceause ofthe stoeeeres of another lua, fren the most compromising an ult, we ate ot instead aps He of suspending ur cinematographic has. This situation wil fw change unt clentfe grammar of cinema ts wrtten 33 8 tential grammar of syste of signs on hich film eased | ‘Non we were saving tat the “ign the scteenplay fellows 2 double sad fsgmeaning sipn-im-sipr- meaning) Te xsl to repeat tha the ign of lncrasy mctalangges aso flows the ane path, bringing fre sagen sa the ellaborating mind ofthe ale! the graeme noe accentuates ts own beng as phoneme. tow rs beng as kine, scordng to the musta! oF pctral Sully ofthe writing But ove hve said that ip the cast of the ‘SSeenplay-tex the chaactnte technique 4 special and ‘onicl request ar collaboration fom the teader to see the Knere Inthe gopheme, above al. and thus to snk ip images can Structing nhs om head the film to which che screcnply lads, ‘ea pote! work ‘Wemure now complet this iia dseration. pointing out that thekinein thus aceentsted an fantonaizd ap We wet 8 Js'not.a mere albelcdaed clement ofthe ss, but the sgn of Shovhe lingeiste sytem. The ug othe sreenlay threore nat ‘nly expresses "owl ofthe frm to become amather” above and [Beyond the fam the st captures “te frm ie movement” movement that Biss ely and vaicas manner in the antsy GF the wer and an he cooperating and fend antsy’ the ead, the two coinciding ely and tn dllerent ways. Allo his Happens normally nthe conten ol writing. and presupposes ony ottnaly another langusge fn which forts fallen Te n ocher wor am sue which estaliahes apport Beewsen meta [nguaner and tev cio fons ‘What is most importane to observes ehat the word of the sereenplay 1 thus. cuntempirenewos the sign two diferent fracture. inasmuch a the meaning that t denotes double: on le etangs ro too langnaes chartered by dierent sractanes, Tin formlating a dtintion sn the necessary hit Held of writing the sign of che screnplay tent is presented 3 he sgn that snore aiorm in movement” iorm eaowed with the wil tecome another form ovulating the defnsion inthe wider su mone objective Bul of Language the nso he sceeplay-ext Is presented a the sim thar expresses meanings ofa seratane Inovement" that is of a structue endowed with he wilt Be me anther srdture "Ths beng the sitoation, what is the eypcalsteuctne of she ipetalanguge ofthe seeenplay! I isa “dhachromie ert” BY ‘efnion, or beter stil we tha expert tha pentates 9 fri tor tetas prt i understoconsetionaly borcerin lion sropst an expression used by Muck actual “process” But a specie ocss in tt Bes nots guest ofa lion, fs pasnge fom pase Ata phase But of pure sad Smpleyamtum "ot ater which mones, without departing ‘ratrving from stylistic structue~hat of paraiso note Slisue suucture—thae of cinema and, more deeply fom one Tague sytem toaster “The scrcnplay tents str, which “yam” bat without functionality and outside the Laws of evolution, Tends sel per few auc for cla between the by ne eaitionl concept ‘erator’ and he criieal concept of pracess= Murdock a Vogt ‘would find themselves confonted by a "proces which does aot broceed” structure which make ol the process sown sce harsetenaeicLevSravse would fi himel emironed not By the values of "pave philosophy” which determine the "dice tional” proceses, but by an ata wile movement the ail Uae utr whe, ideneying the meanings of Hinge toch 28 {he typi sgnn of tht stractre, atthe sme tme went the ‘meanings of another structure Such will specie tis a ven ‘hoc the observer can aserve onthe outside tf which be sell Is wieness. fs nots ypothenzed snd naively demoted The syachrony of she system of the screnplaysens presupposes Aischrony asthe fundamental clement Inher word, Urepat the Process. ie dus haven the laboratory asiactue morpolgialy “That an individu, a author, eats to a system by consrcting nother one scems tome sple and ata the same 83)which men, as authors of history reac to a social structure by Duiling another zou ovation, tht est to ee il © Uanslon the iruetureIthexfore dont want to apesk, nthe res Gr Americaneocologcal ents, of “ratual” and onclogieal aloes and vlitons, but am speaking ot "revolyonary wi” chin the autor at crestor ofan individual sini system that ‘Sontatits the amma nd Merry tn system nore, and fn'non ay sbwerter of plitieal stems, inthe eave of authors of screenplaytets and to am even greater eae of ims, we ae cononted by an od fact the presence of Sjlistc system where theres stil no defined ings system and Seber the structure i bot coneious apd sesenealy dsr. A Sirector such a8 Cols, for example destoys the “pram” of fm belore we know what icin" And ie natal Breau every pera sys rytem cashes more or less lenly with ns onl syseae lathe ese o cinema this heppes by analy with Tecate The auto tha (conscious that his stylistic nystet lor pape more accurtely etna” as Baths suggest) conta {ict he non and sere but he doesnot know what noe It fs There by oor example an atl ineratonal schol 2 "nternanonal se" which adopts for cinema the canons of the Slanguage of poetry" an thus cannot lt sprint, dy hate, ‘ey wit rama which ces not know beezse fis che ea ‘ato another language, of "system of ual ss” which stil fot teal clear inthe ented! consciousness) This language of etry im cinema, lead am atl recent stylistic maiuton, {ith ts om awe and uals, whi ar, one mgt ain symns thy with eachother. they ate recognizable im 2S fom Pans oa fi Tom Prague in alan lm or a rasan fm. As 2 Sloe fz, [those films| arealy tend to have thes cults and their ‘Sciic avenues of Sistiboion recendy there was a conference on ‘hrermentalcietns in lay wher swrenes ofthe ned fo such ‘rents is developing” the ame manner in ever words which SS edltor has hs way and his avenac to sell tonks which were ‘Eemedin advance to lite cculton fr chowen pubic ‘which, however i not necessary bad deal fom commercial fine of ew ifthe dstripotion takes place wien reasonably Frdgeed amis “The distctim between the “anguage of rose’ and the “an ‘guage of pocery i an old concept among linguists, But [hd co Frnt to secene chapter ofthis distinction, would suggest» Fe Fass dedicated wo thi opin Waiting Degree Zero by Bates, Mihi the lstinetion i rrical and electing woul oy ad ‘hat Barthes’ ackgroond is French elissicim, whic is extremely ‘Siete from lean, sn abowe all hat he as see of po. [rosie soquenesf the French langage Heid him while alias have behind them a chaos which makes their classicism in fsa gti nd senators | weal sree thatthe "solation of he words typical of the Langue of "ec dee” poetry han only apparnayanlasice rest tht i of foregouding the ltd wordt mystery a monstiity—over the general nes ofthe sentence, ct spent salva were Able reconstruct the "enuseBeeween the "olatle words of ‘elangag a the pace othe ewes contary he would ways fesonstuctelasice nexuser ay every aesthe operation, ts such rewire In conclosio, in cinema we unquestionably have systems or serctte, with al he characteris of every stom and of eery Srctre patient syste examination, suchas that ofan et olog amons the Austlian eben woud comatose os rene and solid data of those sysoms, both at schools che international cinema of pet ak fexgsnte gre) and 1 ata individual ystems it posnibe to do the same ching through Tong and careful nays the saps and customs” serene too, 8 Ait koow itaively rb experience nor anformed no cenit {esearh, seis of sharers n ght rapport mong them {She colorel ‘urs ona coniney eal etna Sseractre" pial of screenplays. We have bem, aboe, is" ‘amie characters, whch, items tome, bata a of "laconic stracere” ete, et with the “chronotape of Which ‘See pe the eset ineral lems! “Tc meres which hs cv flere the concrete and demons be "wl of the shor: which seems to me to contradict the Assertion of Lev'Suaus: “One canoe at ne andthe same te Fiorously define «phase A and a phase B (which would be possible nly fw the cutie and in stucturl terms) and empaly atm th ata fom ete hr whch wold Be he Only itt way of underaning i” Wc nthe presence uf the “yma strutae” ofa creepy oft wl to b's for hich moves rowed ante for, we at ‘ery well define hase A with rio rom the ode and in se {ort tems for example the leary sitar of the sreealayl nd pase B the cinetatogtphie setuctre But the same Sie tv can empicallyranitate the passage fom one tothe eter brcaue the “tract ofthe srenply consss pect ns Pata rm the itera stage tothe cnematogaphi stage" if Lev-Sause were wrong inthis cave and Curvtch and Ame scan soilogy, Murdock, Wg, were right then we woul have ‘cape the Contention of he later adopts our own tlt necesito tesa more the "oes than the "ute Reading in face, neither more nor lee than reading srenplay,means empirically resnimaring the passage om a seructare A 06 4. Se Wl DewoeZee ar Element of emi. Ante UPS nthe teats 0 2 Bre “chromeape