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THE FILM OF FACT 201
hind the translucent "canvas" on which the artist is painting, faithfully records his activities. [Illus. 37] So we are permitted to watch the act of creation. It is a most exciting spectacle. Once Picasso has outlined what he appears to have in mind, he immediately superposes upon his initial sketch a second one which more often than not relates only obliquely to it. In this way it goes on and on, each new system of lines or color patches all but ignoring its predecessor. It is as though, in creating, Picasso were overwhelmed by a cataract of intentions and/or impulses so that the ultimate product may well be a far cry from the first draft now buried under a mass of seemingly incoherent structures.
If an artist's creative labors cannot be observed directly, there still remains the possibility of conveying an impression of them through a "montage" of his successive attempts to substantiate his vision. "In a documentary on Matisse," says Tyler, "we are shown how the artist developed his conception of a head in a series of sketches from a quasinaturalistic version to the final form. This was done by superimposing the finished sketches transparently so that an illusion of the organic evolution was obtained."14
DOCUMENTARY
Whatever their purpose, documentaries have a penchant for actuality. And do they not rely on non-actors? To all appearances they cannot help being true to the medium. Upon closer inspection, however, this bias in their favor turns out to be unwarranted. Aside from the fact, to be considered later on, that documentaries do not explore the visible world to the full, they differ strongly in their behavior toward physical reality. To be sure, part of them manifest sincere concern for nature in the raw, carrying messages which palpably emanate from their camera work, their imagery. But numbers of documentaries seem to be motivated by other concerns. Even though their authors also resort to natural material as a matter of course, they care little about utilizing it for the implementation of their objectives. In these films formative impulses dissociated from the realistic tendency assert themselves at the expense of the latter.
Concern about material reality
REPORTAGE
There are then, roughly speaking, two groups of documentaries, one conforming to the cinematic approach, the other indifferent to it. To be