Theory of Film The Redemption of Physical Reality

It would be fair to advise the reader at the outset that this book does not include all the things he may be looking for. It neglects the animated cartoon and avoids broaching problems of color. Certain recent developments and extensions of the medium are left undiscussed also. There are doubtless still other omissions; indeed, some of the topics which loom large in most writings on film have either been relegated to the background or completely dropped. But the reader himself will not be slow in discovering these gaps, if gaps they are. What then does the book deal with? Its exclusive concern is the normal black-and-white film, as it grows out of photography. The reason I confine myself to it is rather obvious: Film being a very complex medium, the best method of getting at its core is to disregard, at least temporarily, its less essential ingredients and varieties. I have adopted throughout this sensible procedure. And by the way, is the ground thus covered really so limited? From Lumiere's first film strips to Fellini's Cabiria, from The Birth of a Nation to Aparajito, and from Potem-kin to Paisan, practically all important cinematic statements have been made in black and white and within the traditional format.