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in the world which it reveals. While the stage of the theatre remains at an objective distance from the group of the audience and all the creative efforts of the stage strive towards the never fully attainable ideal of transcending this objective distance, in the cinema this distance never exists.
The cinema possesses, to begin with, the ideal for which theatre strives. The screen has an intimate hold on each spectator like a book on its reader, or like music on the listener who closes his eyes to forget his neighbors. The film, with its changing visual angle, its capacity for unlimited detail and significant elimination, involves the spectator physically in a magic world in which he seems to be taking personal part. The lens of the camera and its complement, the screen, are endowed with the unique capacity of becoming the very eye of each spectator, or even, as I hope for its development, the inner eye.
When the film-maker has achieved the identification between the camera lens and the eye of the spectator, his basic task is fulfilled: he has established an intimate, direct contact with his audience. He has completed a circuit of communication between his and the spectator's mind and heart. Such a direction requires the conviction that all people have, deep within themselves, a wealth of identical emotional potentialities.
Of course, to establish this contact between the artist and the spectator also requires an openness and unbarred sensitivity on the part of the spectator. His acquired resistance in this respect may often be discouragingly powerful, and only the infinite faith and patience of the artist may break them down. But a surrender to these acquired resistances of the audience, together with the burdens of economic responsibility, have brought most of the filmmakers to the seemingly safer concept of addressing themselves to the depersonalized Average Man. Instead of relentlessly trying to uncover and reach the hidden, complex sources of humanity in every human being, they seek to determine the lowest common denominator of the audience's knowledge and intelligence, and thus obtain a formula of popularity for their films. Such a method,
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