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332 NOTES
9. Ibid. p. 254. It should be noted that Pudovkin, Film Technique and Film Acting, part I, p. 90, advances a similar opinion: "A film is only really significant when every one of its elements is firmly welded to a whole."
10. Balazs, Der sichtbare Mensch, p. 115.
11. Feyder, "Transposition visuelle," in Cinema (Les cahiers du mois, 16/17), 1925, p. 71.
12. Griffith, 'The Film Since Then," in Rotha, The Film Till Now, p. 483, characterizes The Informer as a melodrama whose "pretentious, adolescent symbolism continued throughout the film."
13. Quoted by Bardeche and Brasillach, The History of Motion Pictures, p. 46, and Sadoul, Les Pionniers du cinema, p. 530n.
14. Turner, "On Suspense and Other Film Matters: An Interview with Alfred Hitchcock," Films in Review, April 1950, vol. I, no. 3:22, 47.
15. Panofskv, "Style and Medium in the Moving Pictures," transition, 1937, no. 26:125.
16. Quoted from Eisenstein, Film Form, p. 182.
17. Lusk, "I Love Actresses!" New Movies, Jan. 1947, vol. XXII, no. 1:28, 30.
18. Ferguson, "Life Goes to the Pictures," films, Spring 1940, vol. I, no. 2:21.
19. Lewis, "Erich von Stroheim of the Movies . . . ," The New York Times, June 22, 1941.
20. Balazs, Der sichtbare Mensch, pp. 46-7. Cf. also Greene, "Subjects and Stories," in Davy, ed., Footnotes to the Film, p. 69, about incidental life in We from Kronstadt. Similarly, Ferguson, op. cit. passim, emphasizes the importance for films to incorporate fleeting moments of physical life.
21. Cf. Caveing, "Dialectique du concept du cinema," Revue Internationale de filmologie, Oct. 1948, vol. I, nos. 3-4:349-50.
22. Rotha, "A Foreword," in Eisenstein, 1898-1948.
23. Eisenstein, Film Form, pp. 162-3.
24. Seton, Sergei M. Eisenstein, pp. 74-5.
25. Eisenstein, op. cit. p. 132.
26. Marcel, "Possibilites et limites de Tart cinematographique," Revue Internationale de filmologie, July-Dec. 1954, vol. V, nos. 18-9:170, applies the term "useless" in this sense. See also the passage on Moby Dick in Bluestone, Novels into Film, p. 206.
27. Cf. Jacobs, The Rise of the American Film, pp. 105-6.
28. Pudovkin, Film Technique and Film Acting, part I, p. 19, believes the Griffith chase fully to live up to the significance of the action whose climax it marks. As for Eisenstein's oblique interpretation of this standardized chase sequence, see his Film Form, pp. 234-5.
29. Panofsky, "Style and Medium in the Motion Pictures," Critique, JanFeb. 1947, vol. 1, no. 3:11.
30. Rawnsley, "Design by Inference," The Penguin Film Review, 1949, no. 9:34. Lindgren, The Art of the Film, p. 38, expresses a similar view.
31. Ferguson, "Hollywood's Half a Loaf," in Cooke, ed., Garbo and the Night Watchman, p. 257.
32. Longstreet, "Setting Back the Clock," The Screen Writer, Aug. 1945, vol. I, no. 3:12.
33. Kroncnbcrgcr, "Meet One Day, Mate the Next," PM, May 4, 1945. There was the same division of opinions on occasion of Murnau's Sunrise (1927),