Realism (Bazinian and Hollywood's both) in the cinema is like Themersonian Semantic Poetry -- a para-onomatopoetic impulse to capture the "speech" of the world, to use that "language" to reflect AGAINST itself.
It's as if you were forced by some natural law to write in two styles, legalese or Mickey Spillaneisms, and that, even more mysteriously, people couldn't tell the difference between them.
We know it WORKS. But must it?
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