We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
64 I. GENERAL CHARACTERISTICS
the life of a man and a woman during twenty-four consecutive hours: their work, their silence, their intimacy. Nothing should be omitted; nor should they ever be aware of the presence of the camera. "I think," he observed, "this would be so terrible a thing that people would run away horrified, calling for help as if caught in a world catastrophe."5 Leger is right. Such a film would not just portray a sample of everyday life but, in portraying it, dissolve the familiar contours of that life and expose what our conventional notions of it conceal from view— its widely ramified roots in crude existence. We might well shrink, panic-stricken, from these alien patterns which would denote our ties with nature and claim recognition as part of the world we live in and are.
Routes oi passage
In passing through the continuum of physical existence, the film maker may choose different routes. (Since the continuum is endless, his urge to render it completely, if only in one single direction, is of course unrealizable. So he will have to use certain devices, such as the fade-in, the fade-out, the lap-dissolve, etc., in order to mark the necessary breaks in the representation of the continuum and/or smoothly to connect different sections of it.)
Five routes of passage are discernible.
First, films may cover vast expanses of physical reality. Think of travelogues or feature films involving travel: they have certainly a cinematic flavor, provided they sustain the impression of traveling and show real concern for the far-distant places they picture in the process. Also chases belong here in a sense. Laffay, who extols the "pure poetry of deplacement" manifest in, cinematic travel films, says of chases that they "open up the universe on all sides and make us gauge its infinite solidarity."6
The solidarity of the universe can be demonstrated either by showing phenomena in different places successively in a time sequence, as is the case with chases, or by creating the impression that these phenomena offer themselves to view at one and the same moment. The latter alternative, which stresses their co-existence, represents an instance of "reality of another dimension." in as much as it amounts to a cinematic interference with conventional time; by dint of sheer editing the spectator is led to witness widely scattered events simultaneously so that he gets the feeling of being omnipresent. Of course, the assemblage of such events serves the purpose only if the film maker succeeds in suggesting a spatial continuum with their aid. Ruttmann in his Berlin, a cross section of