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THE ACTUAL
A photograph of a person is a very poor substitute for the actual being. It lies in the hands of the creator to utilise his imaginative powers in the creation of the replica, which is his impression, expression, or mental rendering of the subject. Because a picture is ' lifelike,' it is not necessarily an exact rendering of the original. It is rather the artist's interpretation of the original, in which he has emphasised the salient characteristics. The spectator at once seizes upon the latter and recognises them as being akin to his own thoughts about the subject, which perhaps have been subconscious in his mind until the picture has brought them into sudden understanding. Further, the artist's conception may suggest thoughts about the original of which the spectator had no previous knowledge. This is particularly applicable to the film in its power of emphasis by the close up. The very presence of commonplace objects takes on a fresh meaning when shown enlarged on the screen, when emphasised as playing a part in the whole pattern of life. And, above all, it is essential to remember that a picture can be a nonrepresentative as well as a representative record of an object.
But it will be understood that actual progress of the film along its proper path has been slow, and is only defined in a minute percentage of the many hundreds of productions realised up till now. Mr. Charles Marriott has suggested that 'art is a matter of the medium in which it is executed and a just balance between using that material in the imitation of nature and of abstraction, the degree of naturalism and the degree of abstraction being limited by the material.' This matter of 'the medium in which it is executed' cannot be stressed too much with regard to the cinema, for only on rare occasions is the film used rightly as its nature demands. The pleasure of film appreciation lies in the recognition of small developments, which do not often comprise the whole. It is rare to find a film that is in itself a step forward. Indeed, sometimes it is a reward to find one single shot in a movie which suggests an advance in the film's capabilities. However discouraging the present position of the film may be, unconsciously the worst director may put forward a fresh idea of interest. Someone has got to go on making movies, even if they do not stop to ask themselves whether progress is being made.
With the production in 1903 of The Great Train Robbery, the story-film was launched on its long and prosperous career and the incident or action of the film became of first importance. An
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