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BASIC CONCEPTS 35
aims at incorporating. For this reason, the sensitive moviegoer will feel disturbed by them.35 (The problems posed by films of fantasy which, as such, show little concern for physical reality will be considered later on.)
Strangely enough, it is entirely possible that a staged real-life event evokes a stronger illusion of reality on the screen than would the original event if it had been captured directly by the camera. The late Erno Metzner who devised the settings for the studio-made mining disaster in Pabst's Kameradschaft— an episode with the ring of stark authenticityinsisted that candid shots of a real mining disaster would hardly have produced the same convincing effect.36
One may ask, on the other hand, whether reality can be staged so accurately that the camera-eye will not detect any difference between the original and the copy. Blaise Cendrars touches on this issue in a neat hypothetical experiment. He imagines two film scenes which are completely identical except for the fact that one has been shot on the Mont Blanc (the highest mountain of Europe) while the other was staged in the studio. His contention is that the former has a quality not found in the latter. There are on the mountain, says he, certain ''emanations, luminous or otherwise, which have worked on the film and given it a soul."37 Presumably large parts of our environment, natural or man-made, resist duplication.
The formative tendency
The film maker's formative faculties are offered opportunities far exceeding those offered the photographer. The reason is that film extends into dimensions which photography does not cover. These differ from each other according to area and composition. With respect to areas, film makers have never confined themselves to exploring only physical reality in front of the camera but, from the outset, persistently tried to penetrate the realms of history and fantasy. Remember Melies. Even the realistic-minded Lumiere yielded to the popular demand for historical scenes. As for composition, the two most general types are the story film and the non-story film. The latter can be broken down into the experimental film and the film of fact, which on its part comprises, partially or totally, such subgenres as the film on art, the newsreel, and the documentary proper.
It is easy to see that some of these dimensions are more likely than others to prompt the film maker to express his formative aspirations at the expense of the realistic tendency. As for areas, consider that of fantasy: movie directors have at all times rendered dreams or visions with the aid