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

Record Details:

Title:
Theory of film : the redemption of physical reality
Date:
1960
Publisher:
New York : Oxford University Press
Volume:
Theory of film : the redemption of physical reality
Leaf #:
000421
Language:
English
Collection:
Books
Format:
Books
Contributor:
Niles Essanay Silent Film Museum
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
March 28, 2024
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




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.

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.