Plan for cinema (1936)

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ASPECTS OF THE SOCIAL SCENE 39 production apparatus. It could only be a matter of quite a short time before the editing flexibility of the sound-track would be equal to the picture itself, and camera mobility certainly as great as in the silent days — as, indeed, they are to-day — facts no one having really thought about the nature of the sound-film, and having some knowledge of its practical working, could fail to appreciate. It is easy to be wise after the event. But we suffered a glut of nonsense about 'cinema having gone back to bed/ 'dialogue having nothing to do with cinema,5 and similar talk. The art was all gone, no more montage, that is what it was. And the irony of this criticism was that the critics believed what they said. In the uproar ensuing in every department of the cinema world, what the avant-garde conspicuously failed to notice was that cinema had gone a step further towards a genuine form. For cinema-going was no longer mere titillation of your eye-sense with your ear comfortably resting in a trickle of sound. You now had to look and to listen in order to understand at all what was happening in front of you ; in short, you had 'to think.