The birth of film witnessed experimentation in the form of montage. “As regards montage, derived initially as we all know from the masterpieces of Griffith, we have the statement of Malraux in his Psychologie du cinema that it was montage that gave birth to film as an art, setting it apart from mere animated photography, in short, creating a language” (Bazin 24). This tool was, at the time, the best and most sophisticated available to the director, so that was the tool most often used. This routine use resulted in a deep understanding of what film montage could produce successfully. “Through the contents of the image and the resources of montage, the cinema has at its disposal a whole arsenal of means whereby to impose its interpretation of an event on the spectator. By the end...
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...on of the spectacle” (Bazin 35). The audience must receive the story and react to it in the way in which the director wishes otherwise the film will not be effective. “The image—its plastic composition and the way it is set in time, because it is founded on a much higher degree of realism—has at its disposal more means of manipulating reality and of modifying it from within”( Bazin 39-40). The film director must keep the audience in mind. A successful piece of cinema communicates the story to the audience in the most cohesive way possible. It is crucial that the film form and the content agree with one another to create a successful piece of film. “Like accelerated montage and montage of attractions these super impositions, which the talking film had not used for ten years, rediscovered a possible use related to temporal realism in a film without montage” (Bazin 37).
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