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330 NOTES
CHAPTER 11
1. Read, 'The Film on Art as Documentary/' Film Culture, Oct. 1957, vol. III,no. 3:6.
2. Cf. Rotha, Documentary Film, pp. 88, 117.
3. Ibid. p. 123.
4. For sociological comment on the typical U.S. newsreel, see Kracauer and Lyford, "A Duck Crosses Main Street," The New Republic, Dec. 13, 1948, and Meltzer, "Are Newsreels News?" Hollywood Quarterly, April 1947, vol.
II, no. 3.
5. Arnheim, Art and Visual Perception, p. 202, means precisely this, but he is interested only in what happens to a painting if it is shown on the screen. "Pictorial superpositions," he argues, "are more effective on a projection screen than on paper or on canvas, because in a painting or drawing the visible flatness of the ground plane will counteract the three-dimensionality of the pattern."
6. Cf., for instance, Tyler, "The Film Sense and the Painting Sense," Art Digest, Feb. 15, 1954, p. 10.
7. Read, "The Film on Art as Documentary," Film Culture, Oct. 1957, vol.
III, no. 3:7.
8. Tyler, op. cit. p. 12.
9. Ibid. p. 12.
10. So Herbert Matter's film, Works of Calder, and the Calder episode of Hans Richter's Dreams That Money Can Buy.
11. Bolen, "Films and the Visual Arts," in Bolcn, ed., Films on Art: Panorama 19 S3. (Translated from the French edition of this UNESCO publication, p. 6.)
12. Ibid.
13. Read, op. cit. p. 7.
14. Tyler, op. cit. p. 12.
15. Cf. Iris Barry, "The Film of Fact," Town 6 Country, Sept. 1946, vol. 100, no. 4288:253-4.
16. Greene, "Nutrition," in Cooke, ed., Garbo and the Night Watchman, p. 228.
17. Ivens, "Borinage — A Documentary Experience," Film Culture, 1956, vol. II, no. 1:9.
1 8. Reynolds, Leave It to the People, p. 144.
19. Seton, Sergei M. Eisenstein, p. 357. Pudovkin, Film Technique and Film Acting, part I, pp. 133-34, also claims that nature should be adjusted, or indeed subordinated, to the film maker's compositional designs.
20. Grierson says of Flaherty that his "screen is ... a magical opening in the theater wall, through which one may look out to the wide world . . ." Quoted from Hardy, ed., Grierson on Documentary, p. 60.