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In page History of film:

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Atmospheric inserts were developed in Europe in the late 1910s.[citation needed] This kind of shot is one in a scene which neither contains any of the characters in the story, nor is a Point of View shot seen by one of them. An early example is when Maurice Tourneur directed The Pride of the Clan (1917), in which there is a series of shots of waves beating on a rocky shore to demonstrate the harsh lives of the fishing folk. Maurice Elvey's Nelson; The Story of England's Immortal Naval Hero (1919) has a symbolic sequence dissolving from a picture of Kaiser Wilhelm II to a peacock, and then to a battleship.[2]