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316 NOTES
CHAPTER 2
1. Sadoul, U Invention du cinema, pp. 8, 49ff., 61-81 (about Marey). This book is a "must" for anyone interested in the complex developments that led up to Lumiere. For Muybridge, see also Newhall, "Photography and the Development of Kinetic Visualization," Journal of the Warburg and Courtauld Institutes, 1944, vol. 1, pp. 42-3. T. Ra., "Motion Pictures," Encyclopedia Britannica, 1932, vol. 15, pp. 854-6, offers a short survey of the period.
2. Newhall, op. cit. p. 40.
3. Ibid. p. 40.
4. Sadoul, LTnvention du cinema, p. 38.
5. Herschel, "Instantaneous Photography," Photographic News, 1860, vol. 4, no. 88:13. I am indebted to Mr. Beaumont Newhall for his reference to this quote.
6. Sadoul, LTnvention du cinema, pp. 36-7, 86, 241-2.
7. It was Ducos du Hauron who, as far back as 1864, predicted these developments; see Sadoul, ibid. p. 37.
8. See, for instance, Balazs, Der Geist des Films; Arnheim, Film; Eisenstein, The Film Sense and Film Form; Pudovkin, Film Technique and Film Acting; Rotha, The Film Till Now; Spottiswoode, A Grammar of the Film and Basic Film Techniques (University of California Syllabus Series No. 303) ; Karel Reisz, The Technique of Film Editing, etc.
9. Caveing, "Dialectique du concept du cinema," Revue internationale de filmologie (part I: July-Aug. 1947, no. 1; part II: Oct. 1948, nos. 3-4) applies, in a somewhat highhanded manner, the principles of Hegel's dialectics to the evolution of the cinema. The first dialectic stage, he has it, consists of Lumiere's reproduction of reality and its antithesis — complete illusionism, as exemplified by Melies (see especially part I, pp. 74-8). Similarly, Morin, he Cinema ou Vhomme imaginaire, p. 58, conceives of Melies's "absolute unreality" as the antithesis, in a Hegelian sense, of Lumiere's "absolute realism." See also Sadoul, Histoire d'un art, p. 31.
10. Sadoul, LTnvention du cinema, pp. 21-2, 241, 246.
11. Langlois, "Notes sur l'histoire du cinema," La Revue du cinema, July 1948, vol. Ill, no. 15:3.
12. Sadoul, op. cit. p. 247.
13. Ibid. pp. 249, 252, 300; and Sadoul, Histoire d'un art, p. 21.
14. Gorki, "You Don't Believe Your Eyes," World Film News, March 1938, p. 16.
15. Bessy and Duca, Louis Lumiere, inventeur, p. 88. Sadoul, op. cit. pp. 23-4.
16. Quoted by Sadoul, LTnvention du cinema, p. 208. Sec also, ibid. p. 253.
17. Sadoul, ibid. pp. 242-4, 248. Vardac, Stage to Screen, pp. 166-7. Vardac emphasizes that an ever-increasing concern with realism prompted the nineteenth-century stage to make elaborate use of special devices. For