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NOTES 321
7. Clair, Reflexion faite, p. 79. Lindgren, The Art of the Film, p. 45, expresses himself in similar terms. There are exceptions, though. For instance, Obraszow, "Film and Theater," in Von der Filmidee zum Drehbuch, pp. 57-8, blames fantasy for being incompatible with the medium.
8. Pierre-Quint, "Signification du cinema," L'Art cinematographique, 1927, vol. II, p. 24. Among the recent champions of this doctrine is Kyrou, Le Surrealisme au cinema, passim.
9. Cf. Johnson, "The Tenth Muse in San Francisco," Sight and Sound, Jan.March 1955, vol. 24, no. 3:154.
10. Gibbon, The Red Shoes Ballet, p. 12.
11. See Kracauer, From Caligari to Hitler, pp. 61-76.
12. Clair, Reflexion faite, p. 38. (This statement dates from 1922.)
13. Eisenstein, Film Form, p. 203.
14. Cavalcanti, "Sound in Films," films, Nov. 1939, vol. I, no. 1 :38.
15. Neergaard, Carl Dreyer . . . , p. 29. (Translation by Marianne Helweg.)
16. See Clair, op. cit. p. 24.
17. Cf. Huff, Charlie Chaplin, p. 112.
18. Ibid. p. 133.
19. Cf. Kracauer, op. cit. pp. 77-9.
20. Cf. Lindgren, The Art of the Film, p. 28.
21. Cavalcanti, "Comedies and Cartoons," in Davy, ed., Footnotes to the Film, pp. 77-8, points to the near-documentary character of silent film comedy and its little dependence on cutting for pace.
22. Nicholl, Film and Theatre, p. 169; see also p. 93.
23. Quoted from Balazs, Der sichtbare Mensch, pp. 46-7.
24. Neergaard, Carl Dreyer . . . , p. 27. (Translation by Marianne Helweg.)
25. Ibid. p. 30.
26. Griffith, "The Film Since Then," in Rotha, The Film Till Now, p. 604.
27. Neergaard, op. cit. pp. 27-8.
28. Sadoul, Histoire d'un art, p. 180.
CHAPTER 6
1. See, for instance, Lindgren, The Art of the Film, pp. 156-7; Barbaro, "Le cinema sans acteurs," in Le Role intellectuel du cinema, p. 227; Barjavel, Cinematotal . . . , p. 81.
2. Quoted by Lyons, "The Lyons Den," New York Post, June 5, 1950.
3. Clair, Reflexion faite, p. 187.
4. "Film Crasher Hitchcock," Cue, May 19, 1951.
5. Cf. Barjavel, op. cit. pp. 84-5.