In this chapter of Pudovkin’s Film Technique and Film Acting, he proposes that the sum of the parts is greater than each in isolation ie. The combination of two shots will induce a stronger meaning than each shot individually. Pudovkin determines that the theme, the pre-production treatment, and the cinematographic filmic representation of the action determine the relation between shots. He also defines that the filmic form is never identical with the real appearance but only similar to it. This chapter is relevant to my research however another chapter in Pudovkin’s Film Technique and Film Acting will most likely go into more detail and depth than the first chapter of the book. As a limitation, the chapter does not directly discuss the ‘cut’ and, therefore, I will need to do further research in order to garner reliable quotes and referencing to the editing relations between shot-to-shot.