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38 PLAN FOR CINEMA
counterpart, occasions more concentration, in fact more thought for full comprehension, than does the use of the eye alone. Broadcasting had made millions of people sound-conscious. The timbre of the voice bellowing from the loud-speakers in cinema halls was no new thing; it was the average timbre of broadcast reproduction. Curiosity at the novelty of seeing a man in two-dimensional monochrome speak, upon very little reflection became logically accepted as the obvious path the evolution of a perfect cinema would take, from the point of view of verisimilitude. And to the average man, verisimilitude in the arts and in entertainment is the only criterion of their worth. Not real, he will bawl at you if you so much as try to introduce him to anything in the least stylized or artificial by the nature of its form. That is one of the many little blessings of 'universal5 education. It is not surprising, therefore, that the loudest objection to the new cinema came not from the public, who accepted it readily, but from the small avant-garde minority who upheld cinema as an art. But the fact that the silent film had always had a certain aural counterpart in music never occurred to them. They wrote a deal of glib half-truths about camera immobility and editing restriction — montage was in danger — entailed by the sound-track. A week's practical work in any commercial film studio would have revealed these suggestions to be unquestionably apparent, but of no genuine consequence, for their solution lay obviously in the improvement of technical details in