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CHAPTER FOUR
VISUAL CULTURE
Thebirthof film art led not only to the creation of new works of art but to the emergence of new human faculties with which to perceive and understand this new art.
It is a great pity that the scholars dealing with the arts have up to now concerned themselves chiefly with already existing works of art and not at all with the subjective faculties which, created through a dialectical interaction, enable us to see and appreciate the newly-emerging beautiful things. Although objective reality is independent of the subject and his subjective consciousness, beauty is not merely objective reality, not an attribute of the object entirely independent of the spectator, not something that would be there objectively even without a corresponding subject, even if there were no human beings on earth. For beauty is what we like — we know of no other beauty — and this human experience is not something independent, but a function changing with races, epochs and cultures. Beauty is a subjective experience of human consciousness brought about by objective reality; it has its own laws, but those laws are the universal laws of consciousness and to that extent of course not purely subjective.
The philosophy of art has in the past devoted little attention to the subject, the carrier of an artistic culture, whose sensibility and receptivity not only develop under the influence of the arts, but may actually be created by them. What is required is not merely a history of art but a history of art running to and linked with a history of mankind.
It is the purpose of this book to investigate and outline that sphere of the development of human sensibility which developed in mutual interaction with the evolution of the art of the film.
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