The so-called new Russian man is characterized mainly by his complete exhaustion. You may find yourself wondering if he has the st...rength to enjoy his new-found freedom. He is like a long- distance runner who, on reaching the finishing line, is incapable even of raising his hands in a gesture of victory.LESSATTRIBUTION DETAIL »
On a flat road runs the well-trained runner, He is lean and sinewy with muscular legs,... He is thinly clothed, he leans forward as he runs, With lightly closed fists and arms partially raised.LESSATTRIBUTION DETAIL »
My days are swifter than a runner; they flee away, they see no good. They go by like skiffs of reed, like an eagle swooping on the... prey.LESSATTRIBUTION DETAIL »
Our Sight is the most perfect and most delightful of all our Senses. It fills the Mind with the largest Variety of Ideas, converse...s with its Objects at the greatest Distance, and continues the longest in Action without being tired or satiated with its proper Enjoyments. The Sense of Feeling can indeed give us a Notion of Extension, Shape, and all other Ideas that enter at the Eye, except Colours; but at the same time it is very much straightened and confined in its Operations, to the Number, Bulk, and Distance of its particular Objects. Our Sight seems designed to supply all these Defects, and may be considered as a more delicate and diffusive kind of Touch, that spreads its self over an infinite Multitude of Bodies, comprehends the largest Figures, and brings into our reach some of the most remote Parts of the Universe.LESSATTRIBUTION DETAIL »
Analogies between the stage and the screen assume that they deal with the same material. But they don't. The material of the scree...n is not actual objects but images fixed on the film. And the very fact that they have their being on film endows these images with properties which are never found in actual objects. For instance, on the stage the actor moves in real space and time. He cannot even cross the room without performing a definite number of movements. On the screen an action may be shown only in terminal points with all its intervening moments left out. Similarly, in watching a performance on the stage the spectator is governed by the actual conditions of space and time. Not so in the case of the movie spectator. Thanks to the moving camera he is able to view the scene from all kinds of angles, leaping from a long-distance view to a close-range inspection of every detail. It is obvious that with this extraordinary power of handling space and time--by elimination and emphasis, according to its dramatic needs--the motion picture can never be content with modeling itself after the stage.LESSATTRIBUTION DETAIL »