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We have already spoken of the lens and its power. And that power does not abdicate before the invisible or the psychologically abstract.
The invisible: — that which our eye cannot see, the abstract: — that spirit which comes out of movement. The Cinema delights in capturing the invisible, that which exist materially but is outside our range of visual perception. To this end it makes use of skilful technical devices which permit the registration of each phase in the germination or death of a vegetable and finally it re-establishes them on the screen in harmonious lines, the psychologically abstract, the drama, the physical joys of birth and bloom.
And then, when the slow motion camera, multiplying by its increased speed the number of images per second, permits us to decompose a movement into its smallest plastic phases, we have the invisible. When the camera renders perceptible the moral and psychological reactions, hitherto unrealised, we have the psychologically abstract.
When the camera decomposes movement and explores the domain of minute things in nature, it is to show us visually those dramas and beauties which our too synthetic eye does not perceive.
Visually, movement, through its rhythms, straight lines and curves associates us with a complex existence.
The Cinema seeks to make us look here and there. Constantly, in its technical evolution it finds its way to our intelligence and our sensibility through our eyes. Now that it has acquired sound its power is correspondingly increased.
Even microbes do not escape the visual enquiry. Plants and animals, all infinitely small, reveal to us in their natural states their instincts and their acts, the mystery of their evolution and their actions.
We are present at the fierce encounters of sub-marine animals with their belligerant or hypocritical tactics.
The chemical formation of minerals also offers us the secret contained in the decorative seduction of their forms. We can then say that it is nature in evolution, snapped in action, which, through the Cinema, educates us continually. It renders perceptible things (whose existence we have always known and never understood) in all their intimacy by capturing their movements.
And thus our artistic sense is embellished by visions, our sensibility by comprehension and our science by precise knowledge.
The Cinema in registering a truth explains it. The artist or the student who becomes possessed of it, has the task of rendering it apparent to a plastic, scientific or human degree.
The Cinema, by its own technique in the artistic domain, has then the facility of creating new conflicts. Man no longers opposes man and he is made to mingle with nature.
When children or adults have been visually educated at school or in special courses, they will understand that nature outstrips imagination