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ON THE NATURE OF CINEMA 47
strictly limited. It ignores, with happy abandon, the aural counterpart cinema had always possessed in music, refusing to admit on aesthetic grounds the vital part music had always played. (The fact that silent cinema was like a dumb man never seemed to have occurred to anybody.) Its abolition of the camera's unique faculty for moving while photographing movement, logically in keeping with thesis, of course (the abandonment of the internal value of the shot), threw away a whole technique of its own, full of possibilities. Its monochromatic, scenographic quality, canonically assumed to be the dernier cri, made absolutely no allowance for evolution or expansion of the cinema machine. It assumed permanence where none existed. The limitations it inevitably set upon itself by excluding the world of histrionism, the rich world of pantomime and mime, narrowed its use to a specialized category of subject. With the arrival of sound, the apple cart was completely upset. That is why Russian cinema has stood still from that time.
ยง2. Whilst realizing the demerits of the montage theory we must remember it embraces the core of film _ construction, and has exerciseaconsiderable influence ^fbr goojv_ What then, you may say, is the core? The core is physical freedom, absence of a visual spacetime continuum. The reason this property exists is just because we do build in one sense, inasmuch as the editing process is an integral part of construction