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la psychologie devenait dépendante d'une cadence. Les personnages n'étaient plus les seul facteurs importants de l'oeuvre, mais la longueur des images, leur opposition, leur accord tenaient un role primordial 4 cdété d'eux, Rails, locomotives, chaudiere, roues, manométre, fumée, tunnels: un drame nouveau, brutal, composé d'une juxtaposition de mouvements bruts, de déroulements de lignes se transformant,
se développant en une courbe logique et sensible Surgissait. La conception de l'art du mouvement rationnellement compris reprenait ses droits, nous conduisant magnifiquement vers la SU CRGESE vVisuelle placée hors des formules connues.
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In 1925, Dulac began calling her conception of pure cinema "le film intégral," arguing that it would share music's capacity to arouse feeling through juxtaposition of abstract units. 77 Eventually, she identified the integral film with pure evocation, as when she maintained that in this integral film "l'expression est composée de rythmes visuels matérialisés en des formes @purées de tout sens trop précis."48
Following the lead of Dulac and others ,i thevartdets and theorists of abstract cinema readily pushed the con-. cept of purism toward nonrepresentational mise-en-seéne and non-narrative form. Cinema is not limited to representation, wrote Henri Bh ntti for rhythm can engender a "pure" cinema. 19 ‘Pierre Porte noted that many cineastes Sought not to record an action but to capture "L'idéal
méme de tous les arts, l'idéal d'éléver it eapret) hore te
matiére," thus attaining "les mémes transcendantes émotions