Theory of film : the redemption of physical reality (1960)

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NOTES 331 21. Rotha, "Presenting the World to the World," Films and Filming, April 1956, vol. 2, no. 7:17. 22. Dyke, "How 'Valley Town' Was Made," Program Notes of Cinema 16, Jan. 1950. (Reprinted from U.S. Camera, Winter 1940.) 23. Rotha, "It's in the Script," World Film News, Sept. 1938, vol. Ill, no. 5:205. 24. See Kracauer, From Caligari to Hitler, pp. 182-8. 25. Eisenstein, Film Form, p. 62. 26. See Rotha, Documentary Film, p. 175; Eisenstein, op. cit. p. 58. 27. Quoted by Kracauer, "The Conquest of Europe on the Screen," Social Research, Sept. 1943, vol. 10, no. 3:347-8. 28. Griffith, "Documentary Film Since 1939," in Rotha, Documentary Film, p. 335. 29. Hardy, ed., Grierson on Documentary, p. 215. 30. Rotha, Documentary Film, p. 106 n. 31. Ibid. p. 166 n. 32. Hardy, ed., Grierson on Documentary, p. 261. 33. Rotha, op. cit. p. 142. 34. Ibid. p. 147. 35. Ibid. p. 185. Road, "Documentary Film Since 1939," in Rotha, op. cit. p. 218, likewise submits that "maybe the individual human story has been rated too low." 36. Miles, "Are Actors Necessary?" Documentary News Letter, April 1941, vol. 2, no. 4:73. 37. Clair, Reflexion faite, p. 53. 38. Gasset, The Dehumanization of Art . . . , p. 80. (Translator not named.) CHAPTER 12 1. Cf. Sadoul, Les Pionniers du cinema, p. 540. 2. See ibid. pp. 540, 542; Langlois, "Notes sur l'histoire du cinema," La Revue du cinema, July 1948, vol. Ill, no. 15:13-14. 3. For this passage, see Jacobs, The Rise of the American Film, p. 9; Sadoul, op. cit. pp. 541-3, 573; Clair, "Le cin6matographe contre l'esprit," in Lapierre, ed., Anthologie du cinema, pp. 175-6. 4. Cf. Cohen-Seat, Essai sur les principes . . . , pp. 94-5. 5. See Auerbach, Mimesis, pp. 321-3. 6. Ibid. p. 548. 7. See Eisenstein, Film Form, pp. 7, 14, 17. 8. Ibid. p. 92.