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.
CLOSE UP
of the dead crucified one, with the death mask; a worship which does not save god and man from the crushing tank. A decoration in his hand, a cross ; thousands of crosses in a pile. Each cross a god.
In the frosty air the breath from the nostrils of the commanding officer turn him into a dragon image. Two white figures, in the emotional light of negative, advance. The man faces himself.
Questioned by his wife Filimonoff cannot explain his dream. Flashes up again the impotent god and the debris of crosses. Quick cutting brings the incidents into the room. One can w^ell understand his sensations, for the spectator has felt that war was in the cinema. Filimonoff runs from the house, to find his new hopes, to lose his old memories. He jumps on a cattle train ; he is a happv animal.
The town. A statue from every angle. How can a man, a man of stone, live without reactions? Poor fellow, he is to learn. Hismarvellous face moves through a thousand positions, as quickly as the streets which flash by him from the tram cars. An arch is almost a halo round his head. But the new architecture terrifies him; he runs away.
Swing glass doors, and comedy, even in Ermler's picture. Factory hands are instructed, by means of the microphone, during meals. Balalaikas are played. The rest of the film concerns the fitting in of the peasant with a life of showers and razors. A meeting in the factory between Filimonoff and the man whose life he saved.
School starts in the factory ; the way to appreciate modern architecture. A few laugh at his clumsiness; he has an