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abstract action actors adaptation aesthetic American appears artistic attempts audience backgrounds becomes camera characterizations characters cinema classic comedy comic concerns continually conventions create crime critical cuts direction director dramatic dynamic editing effects elements emotional English epic example existence experience expression face fails fantasy feelings figure film film's filmmakers final finds force Griffith Hollywood human ideal identity innocence interest interpretation involving Italian lack leads less lighting living look major manner meaning medium moral movements moving narrative nature numerous objective original past performance period physical picture played poetic postwar present production protagonists psychological relationship remains representative role romantic scene seems sense sequence settings shorts shot shows silent film similar social society sound spiritual stage stars story style stylistic suggests surrounding symbolic television theatrical theme tion treatment Unlike visual woman
Page 32 - Also, to declare how astounded I have been by the amazing changes that I have seen around me on every side — changes moral, changes physical, changes in the amount of land subdued and peopled, changes in the rise of vast new cities, changes in the growth of older cities almost out of recognition, changes in the graces and amenities of life, changes in the press, without whose advancement no advancement can be made anywhere.
Page 29 - A conduct that is truly our own, on the contrary, is that of a will which does not try to counterfeit intellect, and which, remaining itself — that is to say, evolving — ripens gradually into acts which the intellect will be able to resolve indefinitely into intelligible elements without ever reaching its goal. The free act is incommensurable with the idea, and its "rationality...
Page 40 - ... things." It appears to me that, for the critics and the public, the painting of Raphael, Rubens, Rembrandt, etc., has become nothing more than a conglomeration of countless "things," which conceal its true value — the feeling which gave rise to it. The virtuosity of the objective representation is the only thing admired. If it were possible to extract from the works of the great masters the feeling expressed in them — the actual artistic value, that is — and to hide this away, the public,...
Page 27 - The pure work implies the elocutory disappearance of the poet, who abandons the initiative to words mobilized by the shock of their inequality; they light one another up with mutual reflections like a virtual trail of fire upon precious stones, replacing the breathing perceptible in the old lyrical blast.
Page 40 - The black square on the white field was the first form in which nonobjective feeling came to be expressed. The square = feeling, the white field = the void beyond this feeling.
Page 40 - The modern sculptors have arrived at the concept of the universal analogy of form, the concept of all human, animal, and vegetable forms as different manifestations of common principles of architecture, of which the geometric forms in their infinity of relations are all symbols; and at the concept of the meaning of geometric relation as the symbolisation of this universal analogy of...
Page 30 - ... the kaleidoscopic character of our adaptation to them. The cinematographical method is therefore the only practical method, since it consists in making the general character of knowledge form itself on that of action, while expecting that the detail of each act should depend in its turn on that of knowledge. In order that action may always be enlightened, intelligence must always be present in it; but intelligence, in order thus to accompany the progress of activity and ensure its direction,...