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

Page scan 000401 from Theory of film : the redemption of physical reality

Record Details:

Title:
Theory of film : the redemption of physical reality
Date:
1960
Publisher:
New York : Oxford University Press
Volume:
Theory of film : the redemption of physical reality
Leaf #:
000401
Language:
English
Collection:
Books
Format:
Books
Contributor:
Niles Essanay Silent Film Museum
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
September 12, 2024
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




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.

FILM IN OUR TIME 311 old tree and then slowly tilts down to the face of Apu's sick mother who yearns for her son in the big city. In the distance a train is passing by. The mother walks heavily back to the house where she imagines she hears Apu shout "Ma." Is he returning to her? She gets up and looks into the empty night aglow with water reflections and dancing will-o'-the-wisps. India is in this episode but not only India. [Illus. 61] "What seems to me to be remarkable about 'Arapajito/ " a reader of the New York Times writes to the editor of the film section, "is that you see this story happening in a remote land and see these faces with their exotic beauty and still feel that the same thing is happening every day somewhere in Manhattan or Brooklyn or the Bronx."47 Much as these propositions differ in terms of content, they all penetrate ephemeral physical reality and burn through it. But once again, their destination is no longer a concern of the present inquiry.