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WEHAVELEARNEDTOSEE 35
seen a motion picture (this of course was many years ago). The Moscow cousins took her to the cinema and having other plans, left her there by herself. The film was a burlesque. The Siberian cousin came home pale and grim. 'Well, how did you like the film?' the cousins asked her. She could scarcely be induced to answer, so overwhelmed was she by the sights she had seen. At last she said: 'Oh, it was horrible, horrible! I can't understand why they allow such dreadful things to be shown here in Moscow ! '
'Why, what was so horrible then?'
'Human beings were torn to pieces and the heads thrown one way and the bodies the other and the hands somewhere else again.'
We know that when Griffith first showed a big close-up in a Hollywood cinema and a huge 'severed' head smiled at the public for the first time, there was a panic in the cinema. We ourselves no longer know by what intricate evolution of our consciousness we have learnt our visual association of ideas. What we have learnt is to integrate single disjointed pictures into a coherent scene, without even becoming conscious of the complicated psychological process involved. It is amazing to what extent we have, in a couple of decades, learnt to see picture perspectives, picture metaphors and picture symbols, how greatly we have developed our visual culture and sensibility.
WE HAVE LEARNED TO SEE
Thus the new technique of the film camera produced a new way of presentation and a new way of telling a story. The new picture language was developed, polished and differentiated to an incredible degree in the course of some twenty years. We can almost measure this process by harking back twenty years, when we ourselves would probably not have understood films which are quite obvious to spectators to-day. Here is an instance. A man hurries to a railway station to take leave of his beloved. We see him on the platform. We cannot see the train, but the questing eyes of the man show us that his beloved is already seated in the train. We see only a close-up