An insert is filmed matter which is inserted in the appropriate place in a scene, the film being cut for this purpose. This matter must appear and be known as an insert to the writer and manufacturer only; to the audience, it becomes the normal, logical and only natural phenomena that could be presented under the circumstances and sustains and strengthens the illusion of reality. From the point of view of the screen, an “insert” would suggest something stuck in, or a patch; therefore it must never be recognized as such except in the workshop. Technically speaking, all inserted matter is inserts. From a mechanical point of view, the film must be cut in order that captions, printed or inscribed matter, close-views, visions, spoken lines, etc., may be inserted. But we should ignore the manufacturer’s construction and consider inserted matter only as an essential to the perfect visualization of our dramatic story.
The letter, telegram and newspaper insert are dangerous expedients to employ too frequently in the artistic photoplay. They are so easy to stick into a play that, like slang, they become a ready makeshift for the lazy mind, with results that are damaging to dignity.
We cannot repeat too often that everything employed in the photoplay is done so with a specific purpose, for a progressive effect, and for no other reason. Likewise, it must bear some cumulative and contributory relation to the climax. Thus inserts and captions must be something more than mere explanatory matter by becoming important contributory data.
The insert is a great factor for economy, and when properly used in this respect may contribute to heightened effects thru suggestive condensation.
(EXAMPLE 14.) The following letter insert not only saves many scenes but teems with revelation: “Dearest—You simply can’t stand it any longer. Come with me to the city at daybreak. Meet me in the office.” What it has told fills the gap; what it promises because of this audacious proposal makes the play.
The telegram is similar in character, only it allows still greater condensation:
(EXAMPLE 15.) “Meet me in the office at daybreak.” It serves as a further amplification of the same example, tho there is an obvious inconsistency in conveying such startling intelligence by wire.
The employment of the newspaper heading and paragraph is a decided novelty in conveying artistic data. The seeming awkwardness of the medium must be overshadowed by a simple and convincing naturalness on the part of the character in obtaining information from this source that strengthens its plea as dramatic material:
(EXAMPLE 16.) LIBRARY—Nelson enters with tray containing letters and papers. Shelburne opens paper, reads, pauses, laughs:
INSERT O ... (News item heading)