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NOTES 327
23. Lebovici, "Psychanalyse et cinema," Revue internationale de filmologie, vol. II, no. 5:54.
24. Mauerhofer, "Psychology of Film Experience," The Penguin Film Review, Jan. 1949, no. 8:107, says: "Film experience supplies countless people with acceptable material for their daydreams . . ." In their Movies: A Psychological Study, Wolfenstein and Leites stress throughout the daydream character of films.
25. This term, which of course applies to all centers of film production, even emerges in the titles of two books, Die Traumfabrik: Chronik des Films (Berlin, 1931) by Ilja Ehrenburg, a piece of tendentious, if clever, journalism, and Hollywood: The Dream Factory (Boston, 1950) by Hortense Powdermaker.
26. See Kracauer, "National Types as Hollywood Presents Them," The Public Opinion Quarterly, Spring 1949, vol. 13, no. 1:72.
27. Seve, "Cinema et methode," Revue internationale de filmologie, July-Aug. 1947, vol. I, no. 1:45-6.
28. Dard, Valeur humaine du cinema, p. 10.
29. Berge, "Interview de Blaise Cendrars sur le cinema," Cinema (Les cahiers dumois, 16/17), 1925, p. 140.
30. Cf. Schachtel, "On Memory and Childhood Amnesia," Psychiatry, Feb. 1947, vol. X, no. 1, passim.
31. Hugo von Hofmannsthal, "Der Ersatz fuer Traeume," in his Die Beruehrung der Sphaeren, passim.
32. For the relations between audience desires and film content in the Germanv of the late 'twenties, see Kracauer, "Der heutige Film und sein Publikum," Frankfurter Zeitung, Nov. 30 and Dec. 1, 1928.
33. Pordes, Das Lichtspiel: Wesen — Dramaturgic — Regie, p. 22.
34. Beucler, "L'homme cinema," La Revue du cinema, Nov. 1, 1930, vol. II, no. 10:20.
35. For further details of the research design, see Wilhelm, Die Auftriebswirkung des Films, pp. 6-9.
36. Ibid. pp. 19, 33, 34, 35.
37. Ibid. p. 47.
38. Chaperot, "Henri Chomette: Le poeme d'images et le film parle," La Revue du cinema, Aug. 1, 1930, vol. II, no. 13:28.
39. Hofmannsthal, op. cit. p. 267.
40. Wilhelm, op. cit. p. 22.