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NOTES 325
18. See Deren, An Anagram of Ideas on Art . . . , p. 40. Of course, such familiar melodies or visual cliches may be justified as short cuts in cases in which, were it not for their intervention, clumsy elaborations would be needed to advance the action.
19. Example volunteered by Marc Blitzstein in "Music in Films: A Symposium of Composers," films, 1940, vol. 1, no. 4:10.
20. Copland, "Tip to Moviegoers . . . ," The New York Times Magazine, Nov. 6, 1949.
21. Pudovkin, Film Technique and Film Acting, part I, pp. 162, 164-5.
22. London, Film Music, p. 135.
23. Lindgren, The Art of the Film, p. 146.
24. Eisler, Composing for the Films, p. 70.
25. Copland, op. cit.
26. Milano, "Music in the Film . . . ," The Journal of Aesthetics and Art Criticism, Spring 1941, no. 1:90.
27. Sargeant, "Music for Murder," The New Yorker, Oct. 30, 1954.
28. Cavalcanti, "Sound in Films," films, Nov. 1939, vol. I, no. 1 :36.
29. Cf. Grifl'h, "The Film Since Then," in Rotha, The Film Till Now, pp. 443-4,478.
30. Think of such musicals as On the Town, Seven Brides for Seven Brothers, Les Girls, etc.
31. Knight, "Dancing in Films," Dance Index, 1947, vol. VI, no. 8:193.
32. Eisler, Composing for the Films, pp. 73-4.
33. Cited by Benjamin, "L'oeuvre d'art . . . ," Zeitschrift fuer Sozialforschung, 1936-7, vol. V, no. 1:50-51, from a digest in Lu, Paris, Nov. 15, 1935, of Franz Werfel's article, "Ein Sommernachtstraum: Ein Film von Shakespeare und Reinhardt," Neues Wiener Journal. Eisler, op. cit. pp. 72-3, quotes this passage from Benjamin.
34. Cf. Erskine, "On Turning an Opera into a Film," The New York Times, Feb. 4, 1940.
CHAPTER 9
1. Clair, Reflexion faite, pp. 111-12.
2. For instance, Cohen-Seat, Essai sur les principes . . . , p. 92, assumes a continuity of effect, optimistically arguing that words, it is true, may partly "sterilize" the images but are powerless to overwhelm them.
3. Clair, op. cit. p. 112.
4. Wallon, "L'acte perceptif et le cinema," Revue inter nation ale de filmologie, April-June 1953, vol. IV, no. 13:107.