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.
326 NOTES
5. Quoted by Meyerhoff, Tonfilm und Wirklichkeit, p. 39, from Fr. Copei, "Psychologische Fragenzur Filmgestaltung," Film und Bild, 1944, Jahrgang 10,nos.9-12.
6. Cohen-Seat, op. cit. pp. 154-5.
7. Barjavel, Cinema total, p. 68, expresses himself in similar terms: "In the theater the spectator attends the spectacle. In the cinema he incorporates himself into it." See also Licart, Thedtre et cinema: Psychologie du spectateur, passim; especially pp. 19, 20, 57. Licart discusses at length the different psychological effects of stage and screen, summarizing them graphically in two picturesque diagrams. The small volume is a curious mixture of shrewd and quaint observations. On the one hand, Licart fully acknowledges the cinema's unique impact on the senses; on the other, he frowns on it because of its alleged failure to "enrich" the mind (p. 57). This verdict is visibly in keeping with his exclusive devotion to the theater and traditional culture.
8. Wallon, op. cit. p. 110.
9. For the effects of darkness, see Mauerhofer, "Psychology of Film Experience," The Penguin Film Review, Jan. 1949, no. 8:103; Clair, op. cit. p. Ill; Barjavel, op. cit. p. 68.
10. For references to the drugging effect of the cinema, see Mauge, "Qu'avezvous appris au cinema?" Du cinema, May 1929, Serie I, no. 3; Cranston, "The Prefabricated Daydream," The Penguin Film Review, 1949, no. 9:27; Epstein, Cinema, p. 103; Wallon, "De quelqucs problemes psycho-physiologiques que pose le cinema," Revue internationale de filmologie, JulyAug. 1947, vol. I, no. 1:16.
11. Epstein, op. cit. p. 107; Wallon, op. cit. p. 16.
12. The hypnotic power of films is frequently mentioned and commented upon. See, for instance, Meyer Levin, "The Charge of the Light Brigade," in Cooke, ed., Garbo and the Night Watchman, pp. 124-6; L'Herbier, "Puissance de l'ecran," in Ford, ed., Breviaire du cinema, p. 76; Epstein, Cinema, p. 107; Cohen-Seat, Essai sur les principes . . . , p. 28; Ouesnoy, Litterature et cinema (Le Rouge et le Noir: Les essais, no. 9), p. 31.
1 3. Cf. L'Herbier, op. cit. p. 76.
14. See MacDonald, "The Soviet Cinema: 1930-1938," Partisan Review, July 1938, vol. V, no. 2:40; Pudovkin, Film Technique and Film Acting, part II, p. 44.
1 5. Hardy, ed., Grierson on Documentary, p. 77.
16. Waddington, "Two Conversations with Pudovkin," Sight and Sound, Winter 1948-9, vol. 17, no. 68:161.
17. Sec Kracauer, From Caligari to Hitler, p. 284, and Kracauer, "The Conquest of Europe on the Screen," Social Research, Sept. 1943, vol. 10, no. 3: passim.
18. Kracauer, From Caligari to Hitler, p. 280.
19. Cf. Rotha, Documentary Film, pp. 176, 195-6.
20. Kracauer, op. cit. p. 297.
21. Rotha, op. cit. p. 58.
22. Marcel, "Possibility et limites de Tart cinematographique," Revue internationale de filmologie, July-Dec. 1954, vol. V, nos. 18-19:171. See also Meyerhoff, Tonfilm und Wirklichkeit, pp. 81-2.