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Waltz Bream), the satiric (A Nous la Liberie, Le Dernier Mil liar dair e) , and the stylised (Lubitsch). These classes might be profitably subdivided, but also clearly overlap.
"The term theatrical, in the vocabulary of the cinema, may be applied to all films which use trained actors and /or studio sets."
Similarly, "the term naturalistic describes films in which the actors are untrained and are merely directed to reproduce for the screen the way of life that is ordinarily their own, and in which the settings are not created for the purpose of the film."
"Realistic, as in literature, describes the approach of the director who concentrates on faithfully reproducing the surface-aspects of reality — who takes reality at its face-value."
"Romantic," similarly, "describes the approach of the director who believes that there are many facets of reality and that he may reproduce for us whichever of them he will." Consequently the romantic director generally shows more individuality of style than the realistic director, who should suppress his own personality in his attempt to catch the surface-truth. Moreover, let the warning be given; there will always be many who will deny the truth of a romantic's vision of reality. But deliberate falsification is neither realistic nor romantic.
We may now look for, and find, four classes of documentary : —
(i) Romantic theatrical. — Clair in Sous les Toits and 14 Juillet is the most famous exponent of this type. I do not know whether Dovzhenko was using untrained actors in Earth ; if not, that clearly romantic film should be included here.
(2) Realistic theatrical. — Here one could give many examples: — ■ Bruno Rahn's The Tragedy of the Street, Roland Brown's Quick Millions, Pabst's Westjront,
(3) Romantic naturalistic. — Certainly we must place Flaherty here, and with him perhaps Eisenstein, who, as far as I have seen, has rarely tried to confine himself to the presentation of the oneplaned external. A glance at the published scenario of Que Viva Mexico! should strengthen this view.
(4) Realistic naturalistic. — Here is the true, the " pure " documentary, which we find in Ruttmann's Berlin and World Melody, in Turin's Turksib, in Joris Ivens' Radio, and the rest of their kind. But is it so pure? Was Ruttmann's suicide incident in Berlin a slice of reality, and was the woman actually drowned? Did Turin's geometrical instruments actually, and normally, gyrate for the delight of the camera? There is, indeed, no hard and fast line of distinction between the ordering of existent material and the assembling of new material, and for that reason I have insisted on the " theatrical " classes of documentary. The purpose, as Schrire has it, is all. Pabst and Turin are together here, as perhaps are Clair and Eisenstein.
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