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ON THE NATURE OF CINEMA 4 1
can in literature be transported instantly from one place to another, cognizance of it depending on our imagination. In cinema, however, our imagination is helped by! a transportation visually obvious to our j jjenses*— !jt can be argued, theatre does the same thing. It does : with immense clumsiness, during which a curtain is dropped. There can be no real continuity of varying locale in theatre ; interval or pause is inevitable. The roof and four walls, the scene being there, actually occurring and not a replica in two-dimensions projected on to a screen, represent the space-time continuum to which we are irretrievably tied in our waking life. Theatre l^r^/jjoinerna is a^ replica of events that have^eerLreaj^aSsembled in predetermined ordn\
The capacity to disintegrate — the breaking down of the scenic macrocosm into microcosmic detail — is an outcome of the indigenous physical freedom. Instantaneous alteration of scene is in a strictly visual sense
sudden pivoting of viewpoint.^ The observance of
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a human ligure, full length, followed instantly by a nearer view of the figure's head, is likewise. Jt is a matter of^ scale, j Before we consider cinema's nature further, lcTtiS" ttTake no mistake about this quality of physical freedom, for jt is fundamental. Any theory 5 of "cinema "7s, ipse ) facto, derived from it. Unfortunately, [ffieTacFT^ ~" in speculative and critical writing on the subject, hence the confusion as to what is valid and what is not, all of which tending to strengthen the fallacy of permanence. >r\ v.