Drifters

John Grierson's 1929 documentary
We have constant movement; if not of the camera, then of the action on screen. We complain now about headaches from movement, but there's an equal degree of seasickness here. This idea, the constant flux, is further enhanced by the cutting about and the dissolves. The objects focussed in on are as though alive in this constant stream.
The monatge is thematic, almost associative at times, strangely enhanced by one series at the end where the throughout impeccable spatial continuity seems to be broken.
Grierson creates a narrative, with the posit of an omniscient camera, going to the sea, flying to the air, seeing the men get dressed in the morning without their being any self-awareness (though I doubt they really stand close enough usually to be in one frame). The camera can be, and seemingly is, everywhere.