SUPERNATURING

One of the first functions
of realism in the cinema
is how the
money spent in the being there
(but never wasted)
upon conversion into image,
is refracted and reverberates
out unto real objects
manifesting or lacking a consequent allure.

This reciprocal charging of the non-space between image and real
benefits both in their natural (essential) poverty.

 
This is the obscure mysticism of money...

Bresson: Getting close to things may be the way to perceive supernatural things. The supernatural is always in reality, it is something real to which we approach as much as possible.

THE INVISIBLE SYMBOLIC IN THE CINEMA

"Who could fail to sense the greatness of this art, in which the visible is the sign of the invisible?"  -- Jean Gremillon

What the people of the early cinema understood, but almost everyone has forgotten -- an image of people suppressing emotion on screen is almost unbearably moving for the audience. Why is this? Perhaps, because, in a similar way, the thing that is NOT shown, the invisible term in the Kuleshov effect, immediately supplied by imagination of the people watching, results in a powerful effect: a gesturing off-stage to something that is not, perhaps, representable. A suture of the cosmic and the mundane.