Movies in society : (sex, crime, and censorship) (1962)

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As Affected by Literature, Music, Color etc. 167 We must understand that the cinema is still in its formation. If there is still the tendency to use a technique that seems to be too similar to that of the theatre, it is because we do not yet realize that photogenic material exacts a treatment absolutely opposed to that of the theatre. Our screens are every day flowing more and more with literature for the same reason. It took a long time to divorce music and words. It will be easier to separate the words and the animated image, but we still suffer from the present incompatibility of humor. Soon the psychology of the drama, today lasting five hours of reading, will be more profoundly felt in thirty minutes of the powerful synthesis on the screen. While in the meantime we attempt false steps, drawbacks or fright of risk, love infected by hate, or still worse, indifference, there is nothing that is harmonious. Each is absorbed in the minuteness of detail, in the need to "fill the vacuum." I speak of the creative artists. What do D. W. Griffith, King Vidor, C. B. de Mille, Carl T. Dreyer, Victor Sjostrom, Mauritz Stiller do? What do Robert Wiene, Fritz Lang, Lupu Pick, Louis Delluc, Abel Gance, Marcel PHerbier, Jean Epstein do? Technique does have a direct influence on art but no art has ever used material as rich as the cinema. This material should communicate a characteristic that is very special with regard to this new work of art. The idea should try to conform to it. A face does not need in any way the same emphasis in lighting as a tapestry or a landscape. This film material is composed of thousands of objectives of which a great number are still unknown. The kind of composition that each one of them makes possible must be used. In the cinema we have the same logic force that obliges the creator to think of images and partake of any and all developments that may be carried out in a book or on the stage. Technique has, in the long run, an indirect influence on art due to the subject presented and to the means employed