Audiovisual media doesn't depict thoughts, or introspection writing mode, as well as text. Cinematic devices like voiceover soliloquys and dramatic mononlogues and camera objective perspective techniques imitate thought. The former, the television situtation comedy Scrubs carried voiceover to its logical extreme. Silence of the Lambs' camera techniques depicted the first person perspective of Buffalo Bill, with thoughts expressed by voiceover.
Text, on the other hand, has free rein with thoughts through depicting free or tagged, direct or indirect thoughts. If visual media cannot imitate the introspective perspective of characters the way text does, it's often left out. Another scene from Silence of the Lambs, Clarice Starling at the rural morgue preparing to examine a Buffalo Bill victim skips altogether Clarice's introspection that artfully makes the scene's meaning. Jack Crawford puts the onus on Clarice to clear the looky-lou sheriff's deputies and troopers out of the morgue. On point, being tested by her superior, she appreciates the sensitive situation and how to solve the problem by working it out in her mind, a thought exercise. The film depicts the scene with a few camera angles and dialogue lines in a matter of moments. The novel scene takes up several pages. The film doesn't do the novel's scene justice.
Film doesn't foreshorten story time very well. It cannot without cinematic devices that are shy of the bar text sets. Slow motion is a time foreshortening device that when done well almost substitutes. I think slow motion is overdone and often done artlessly. Text foreshortens story time by drawing out narrative time. The fleeting emotional thought reactions between an inciting cause and a subsequent effect-reaction can be artfully depicted in text. What takes a microsecond in real time can occupy several pages and minutes in narrative time, thus foreshortening story time and imitating the standstill of time humans experience at emotionally tense moments that allow for conscious or nonconscious thought. Nonconscious thought, now there's the art and motherloving hard to imitate.
Another cinematic device and screen or stageplay technique foreshortens story time by foreshortening camera objective perspective. Foreshortening is basically using a long camera objective with a narrow depth and field of view. A focal foreground subject is in focus and the background is blurred. Using a long telephoto lens and shooting from a distance closes in close, zooms, on the subject narrative distance-wise.
The stageplay technique is known as a Pinter Pause. Playwright Harold Pinter consciously mastered the technique that Shakespeare almost grasped. I expect audiences of Shakespeare's time weren't ready for that close of a narrative distance, or psychic distance in an audiovisual vernacular. Hamlet's "To be or not to be" soliloquy in the cemetery is a traditional classic example of Shakespeare's story time foreshortening, closing narrative or psychic distance technique that wowed audiences, but didn't close in so close audiences of the time were upset by voyeuristically disturbing psychic access to thoughts. I imagine as limited a censorship as Shakespeare enjoyed in the heady Elizabethan era's lusty exuberances, that would have been one bridge too far for church and moral authorities to have allowed. Communing with the devil mind reading and all that.
Pinter Pauses are emotionally poignant moments when a character on stage stands mostly still and speaks few or no direct speech words. No dialogue. Emotional expressions and gestures and body language take the place of expressing thoughts aloud by soliloquy or dramatic monologue. The film equivalent zooms in on a subject's external emotional expressions and foreshortens time by closing so close sweat droplets become waterfalls, hair folicles become forests, facial lines become chasms, and so on.
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