We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
I38 THE CINEMA
editing. Though a film-maker setting out to tell his story should obviously be concerned only to create its characters, locations and its atmosphere, and not be sitting, text-book in hand, coldly applying technical theory to the human elements with which he is concerned, he must be aware of the multitude of technical opportunities offered by the film to make his story effective. He may achieve this difficult task instinctively (as a few film-makers somehow manage to do in their very first productions), but mostly it will be a matter of late nights, hot coffee and hard, self-critical thinking. He must reflect, visualize, judge, accept, reject, and eventually choose one way out of a hundred alternatives to present his portrait of the way of all flesh. The independent thinking of critics on the muscular structure of the film medium may not be in the forefront of his mind (or perhaps in some cases it may), but only a fool or a genius is independent enough to think that he can make the rabbit come out of the hat without any sort of preparation at all. The fool will bungle it, whereas the genius may possibly succeed. But the more general of film-makers needs, in my belief, to think constantly about what can and cannot be done with films in the same way as Leonardo da Vinci never ceased to speculate, analysing and drawing the muscles of the human body and sketching the many curious figments of his plastic imagination.
Theory there must be, as in all the other arts. Without it you depend on the occasional discoveries of genius which other lesser artists rush in to copy without having those sound intuitive reasons which made the first use of the device satisfying. Without it you may certainly get a number of technically self-conscious or arty films, but that is a risk well worth taking in order to make the intelligent flexible use of the medium more general in the day-to-day work of the studios.
The critic at present has to create his own standards based