Bauhaus-Universität Weimar

of the crank. It is the same street scene, and 
yet in the one case everyone on the street 
seems leisurely to saunter along, while in the 
other case there is a general rush and hurry. 
Nothing is changed but the temporal form; 
and in going over from the sharp image to 
the blurring one, nothing is changed but a 
certain spatial form: the content remains the 
As soon as we give any interest to this for¬ 
mal aspect of the presentation, we must 
recognize that the photoplaywright has here 
possibilities to which nothing corresponds in 
the world of the stage. Take the case that we 
want to produce an effect of trembling. We 
might use the pictures as the camera has 
taken them, sixteen in a second. But in re¬ 
producing them on the screen we change their 
order. After giving the first four pictures we 
go back to picture 3, then give 4, 5, 6, and 
return to 5, then 6, 7, 8, and go back to 7, and 
so on. Any other rhythm, of course, is equal¬ 
ly possible. The effect is one which never oc¬ 
curs in nature and which could not be pro¬ 
duced on the stage. The events for a moment 
go backward. A certain vibration goes 
through the world like the tremolo of the or- 


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