Theory of film : the redemption of physical reality (1960)

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214 III. COMPOSITION by the more discriminating proposition that there are different types of stories, some of which, in keeping with that hypothesis, resist cinematic treatment, while others do prove responsive to it. Even Maurois and Seve who reject the story film admit that much; they inadvertently modify their anti-story dictum by exempting Balzac stones and Chaplin films from the general rule.* * See pp. 176-7.