By Andre Bazin, Hugh Gray, Jean Renoir, Dudley Andrew
The philosophy and designated insights of the past due French movie critic are published in those essays
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Extra info for What is Cinema? Vol. 1
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In the typical American comedy the director returns as often as he can to a shot j of the characters from the knees up, which is said to be best suited 1 to catch the spontaneous attention of the viewer-the natural point J of balance of his mental adjustment. j I 'i OPU·I. 32 The Evolution of the Language of Cinema Actually this use of montage originated with the silent movies. s films! for example in Broken BloS5oms . because with Intolerance he had already introduced that synthetic concept of montage which the Soviet cinema was to carry to its ultimate conclusion and which is to be found again, although less exclusively, at the end of the silent era.
22 I THE EVOLUTION OF THE LANGUAGE OF CINEMA BY 1928 the silent film had reached its artistic peak. The despair of its elite as they witnessed the dismantling of this ideal city, while it may not have been justified, is at least understandable. As they followed their chosen aesthetic path it seemed to them that the cinema had developed into an art most perfectly accommodated to the "exquisite embarrassment" of silence and that the realism that sound would bring cou1d only mean a surrender to chaos.
Ity which if it were real might cause some problems. The illusioQ i here is more complete, but it can be detected and in any case, the i important thing is not whether the trick can be spotted but whether : or not trickery is used. just as the beauty of a copy is no substitut~ for the authenticity of a Vermeer. Some will object that there ia trickery in the handling of Lamorisse's balloon. Of course there i3, otherwise we would be watching the documentary of a miracle or ' of a faIdr at work and that would be quite another kind of film.