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CREATIVE PROBLEMS OF THE ART OF THE CAMERA-MAN
In the search after new subjects for demonstration the cinema turned to utter detective literature. The first detective films appeared, and, in accordance /ith the social functions they fulfilled, as a means of amusing the ' rabble ', the inema received due estimate from the representatives of bourgeois aesthetics, n his book Das Kino in Gegenwart unci Zukunft, Konrad Lange writes :
Moving photography is less artistic than the ordinary kind. Consequently it has to e compared not with the pictorial and sculptural arts, as genuine arts, but with the various inds of fairground attraction.
In his dissertation on Philosophie des Films, similar negative dictum :
926, Rudolph Harms quoted
The cinematograph, like all mechanical things, is by its nature more an enemy than n aid to culture. By comparison with it even the roughest of circuses is an artistic instituion (Benno Ruttenauer).1
As we see, at that stage of its development the film could make no claim to he title of an art product, to being, in other words, an artistic phenomenon, /lore than that, in certain cases the cinematograph became not only an inrtistic phenomenon, but downright dangerous, contradicting the elementary •ases of bourgeois ethics and morals.
If anything can be called a coarse indecorum [wrote Konrad Lange], then first and Dremost it is the public presentation of actions prohibited by the criminal code.
Thus, in regard to the cinema bourgeois aesthetics completely maintained he position earlier adopted in regard to photography, denying that it was an art.
Considering the cinema as ' living photography ', bourgeois and petty bourgeois aesthetics exactly repeated its old error. More than that. The rejection A photography as an art became the chief prerequisite to the denial of cinematography's right to call itself an art.
Fig. 75. — Shot from a trick film by Georges Melies.
1 See Harm's book Philosophie des Films, 1926, p. 33, pub. Academia, Leningrad,
927.
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