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 »
Remembering the Strait of Belle Isle or some northerly harbor of Labrador,... before he became a schoolteacher a great-uncle painted a big picture.LESSATTRIBUTION DETAIL »
Consider a man riding a bicycle. Whoever he is, we can say three things about him. We know he got on the bicycle and started to mo...ve. We know that at some point he will stop and get off. Most important of all, we know that if at any point between the beginning and the end of his journey he stops moving and does not get off the bicycle he will fall off it. That is a metaphor for the journey through life of any living thing, and I think of any society of living things.LESSATTRIBUTION DETAIL »
Building up a family's fortune is like moving earth with a needle, but losing a family's fortune can be as swift as a boat rushing... downstream with the current.LESSATTRIBUTION DETAIL »
But among all our Methods of moving Pity or Terror, there is none so absurd and barbarous, and what more exposes us to the Contemp...t and Ridicule of our Neighbours, than that dreadful butchering of one another, which is so very frequent upon the English Stage. To delight in seeing Men stabbed, poisoned, racked, or impaled, is certainly the Sign of a cruel Temper: And as this is often practised before the British Audience, several French Criticks, who think these are grateful Spectacles to us, take Occasion from them to represent us a People that delight in Blood.LESSATTRIBUTION DETAIL »