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tion to its present exclusive use for entertainment and dissemination of information.
It seems to me that the rich potentialities of the camera still lie greatly unexplored. We use it to illustrate narratives and to report facts, whereas it possesses an unmatched evocative power capable of providing us with genuine experiences which are not within the scope of other forms of communication. We make it adopt the theatrical concepts of unity of place and time, whereas it possesses a power over space and time comparable only to that of an airplane (as contrasted to ground locomotion) . We think we improve films by borrowing effects and adopting structural concepts from all other arts. But films could stand better on their own feet if we concentrated on seeking out the cinema's own structural and formal laws. Instead of relying on the writer's, musician's, painter's or some other's guiding thought, some film-makers should finally gather courage to develop and learn how to rely on their own cinematic thought.
The cinema or any other art form cannot produce mature works in its own idiom unless there are talents capable of thinking in such an idiom. We have to recognize the existence of a distinct cinematic thought, just as we recognize that a painter thinks in terms of form, color and space, or a musician in terms of sounds and rhythms.
Along with the development of such cinematic thought (in which dramatic, narrative, auditory or other elements may play a part, but are not essential) , must go the development of sensibility to the meaning of all component parts of film technique, on the part of both the film-makers and their audience. Equipped with such sensibility, we will be able to create and appreciate profound as well as infinitely delicate values in cinematic works of art, to the same degree that we are so capable in the older, familiar arts.
I would like to see the rise of a new movement which would work toward the materialization of these concepts. I realize that the film industry, which is now so firmly built up on the crude concepts of the motion-picture, could not suddenly adopt such a course. I also do not underestimate the validity and needs for films
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