Human visual perception is a far more complex and selective process than that by which a film records. Nevertheless the camera len...s and the eye both register images--because of their sensitivity to light--at great speed and in the face of an immediate event. What the camera does, however, and what the eye in itself can never do is to fix the appearance of that event. It removes its appearance from the flow of appearances and it preserves it, not perhaps forever but for as long as the film exists. The essential character of this preservation is not dependent upon the image being static; unedited film rushes preserve in essentially the same way. The camera saves a set of appearances from the otherwise inevitable supercession of further appearances. It holds them unchanging. And before the invention of the camera nothing could do this, except, in the mind's eye, the faculty of memory.LESSATTRIBUTION DETAIL »
Whatever else it may be--stimulus, tranquilizer, aural nipple, too of executives, Muzak is basically trivializing. It is not simpl...y that it relegates music to the province of wallpaper. Background music never need be banal. When it is used in support of drama, it can greatly enhance without harming itself. Mozart was entirely amenable to such films as Elvira Madigan and The French Lieutenant's Woman; Ralph Vaughan Williams wrote aptly for The Invaders, Arnold Bax for Oliver Twist, Sergei Prokofiev for Lieutenant Kije and Alexander Nevsky, Dmitri Shostakovich for others. In such uses, music collaborates with artists, it becomes an art among arts. But Muzak collaborates chiefly with management: it is used as an aural smoke-screen, a form of jamming, a hormone in the henhouse, an emollient in cemeteries.LESSATTRIBUTION DETAIL »
Whereas the child is chiefly playful and experimental, the adult focuses on specific and conscious experiences. He practices selec...tive inattention to the objects for which he has no immediate use and develops a kind of tunnel vision that helps him to move toward selected goals. This focusing on a limited range of experiences and goals is largely responsible for one's individual evolution and gives a deep and almost tragic significance to a statement made by Albert Camus in his novel La Chute: "Après un certain âge tout homme est responsable do son visage." An almost identical statement appears as the last entry in George Orwell's notebooks: "At 50, everyone has the face he deserves." There could not any more absolute affirmation of belief in personal responsibility for the quality of one's own life and character.LESSATTRIBUTION DETAIL »
The artist, he imagined, standing in the position of mediator between the world of his experience and the world of his dreams--"a ...mediator, consequently gifted with twin faculties, a selective faculty and a reproductive faculty." To equate these faculties was the secret of artistic success: the artist who could disentangle the subtle soul of the image from its mesh of defining circumstances most exactly and "re-embody" it in artistic circumstances chosen as the most exact for it in its new office, he was the supreme artist.LESSATTRIBUTION DETAIL »
The drama can only be brought to its climax in one of two ways--through the selective brutality of terrorism or the impartial horr...ors of war.LESSATTRIBUTION DETAIL »
Selective ignorance, a cornerstone of child rearing. You don't put kids under surveillance: it might frighten you. Parents should ...sit tall in the saddle and look upon their troops with a noble and benevolent and extremely nearsighted gaze.LESSATTRIBUTION DETAIL »
The novelist sets forth his characters in two ways, by direct comment upon them, or indirectly by reporting their actions and beha...vior and letting the report speak for itself. The portraitist uses the latter method only, translating everything into purely visual and self-sufficient terms. His problem is to fuse into a single unambiguous statement what he sees of a man and what he understands of him. The greater his selective faculty and power of communication the keener will be his portrait. Facial expressions and body gestures are a living language which we all have learned to read as a clue to, and use as a revelation, of character. A keen portraitist has a flair for this wordless language of the face, and simply by reporting the visible quantity of the body-soul equation he can give us insight into the hidden psychological quality.LESSATTRIBUTION DETAIL »
Your Englishman, confronted by something abnormal will always pretend that it isn't there. If he can't pretend that, he will look ...through the object, or round it, or above it or below it, or in any direction except into it. If, however, you force him to look into it, he will at once pretend that he sees the object not for what it is but for something that he would like it to be.LESSATTRIBUTION DETAIL »