Modeling Industry

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Our father has an even more important function than modeling manhood for us. He is also the authority to let us relax the requirements of the masculine model: if our father accepts us, then that declares us masculine enough to join the company of men. We, in effect, have our diploma in masculinity and can go on to develop other skills.
—Frank Pittman (20th century)

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Analogies between the stage and the screen assume that they deal with the same material. But they don’t. The material of the screen 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.
—Alexander Bakshy, U. S. film critic. repr. In American Film Criticism, ed. Stanley Kauffman (1972)