bold = Main text
   Chap.                                      grey = Comment text

 1 1      |          power of attraction of a film springs from its technical
 2 1      |        world or, in a documentary film, of bringing reality, distant
 3 1      |           Cinema. It preceded the film, and first made it possible;
 4 1      |           in existence before the film was born; then gradually
 5 1      |          born; then gradually the film has taken control of them
 6 1      |         technical process and the film has thus brought about a
 7 1      |           pass on to the animated film of ideas and feelings, at
 8 1      |        into the unreal world, the film has asked technical skill
 9 1      |             In looking today at a film of forty years ago, it is
10 1      |          qualities, a present-day film - even though only a sound
11 1      |          even though only a sound film in "black-and-white" - appears
12 1      |         and the importance of the film derives from the artistic
13 1      |           as they explain how the film influences the mind, or
14 1      | unconscious. They investigate the film's influence not only as
15 1      |       effective form to give to a film the power described above,
16 1      |        through application in the film of this psychological activity
17 II     |                   II. - THE IDEAL FILM~ Up to the present We have
18 II     |       sense can there be an ideal film? Some deny that an absolute
19 II     |       premise, We think the ideal film must be considered under
20 II     |          i.e., the content of the film;~3) in relation to the community,
21 1      |                    1. - THE IDEAL FILM CONSIDERED IN RELATION TO
22 1      |      regard should mark the ideal film is respect for man. For
23 1      |         will call ideal only that film which not only does not
24 1      |         basic element of an ideal film; but more still can be attributed
25 1      |           is not enough, when the film is intended for a given
26 1      |         reality reproduced by the film is presented artistically,
27 1      |      touch of his wand.~The ideal film, therefore, ought to know
28 1      |           others superficial. The film answers now to one, now
29 1      |           a serious instructional film has a right to the teaching
30 1      |         who goes to an historical film, wishes to find presented
31 1      |            looks primarily to the film for relief, forgetfulness,
32 1      | legitimate demands? Can the ideal film adapt itself to these expectations
33 1      |     frequently. In that case, the film can seek to meet such a
34 1      |    feelings.~Doubtless, the ideal film is allowed to lead the weary
35 1      |        sufficient experience. The film, indeed, which leads from
36 1      |     always remain master. Let the film follow Nature in this: it
37 1      |       function.~(d) But the ideal film, considered in reference
38 1      |           enough for appraising a film. It must also measure up
39 1      |       parts of his body.~An ideal film, then, has truly the high
40 1      |            all the more so as the film - the poet would call it "
41 1      |          worthy ideals. The ideal film, on the other hand, intends
42 1      |          into existence the ideal film is a privilege of artists
43 [Title]|       INTERNATIONAL FEDERATION OF FILM DISTRIBUTORS~(Audience of
44 1      |                         THE IDEAL FILM - A POWERFUL MEANS OF MENTAL
45 1      |      undisciplined liberty of the film would share responsibility,
46 1      |    unsullied regions of the ideal film. ~Of this We previously
47 1      |         the man to whom the ideal film is presented. ~Now We pass
48 2      |                    2. - THE IDEAL FILM CONSIDERED IN RELATION TO
49 2      |    tracing the lines of the ideal film with respect to its content,
50 2      |           the real essence of the film, its specific goodness,
51 2      |          degree. In so far as the film has reference to man, it
52 2      |       concept. Well then, can the film be a suitable vehicle for
53 2      |            even, in the case of a film worthy to be classified
54 2      |         the creation of the ideal film; but it is equally recognised
55 2      |        interfere, which check the film maker on the threshold of
56 2      |           goodness or beauty. The film cannot presume, nor should
57 2      |    predominates in the individual film.~~INSTRUCTlONAL FILMS~ Taking
58 2      |           we shall name first the film which sets instruction as
59 2      |           complaint, this kind of film, provided it is executed
60 2      |        deserve the title of ideal film.~Nature, which offers itself
61 2      |          of nature's Creator.~The film can yield an abundant harvest
62 2      |       show that the instructional film, provided it is treated
63 2      |          he expects from an ideal film in this class.~~ACTION FILMS~
64 2      |         subject matter, the ideal film is no everyday affair; and
65 2      | difficulties with which the ideal film is confronted in actual
66 2      |          before himself the ideal film; some of them come almost
67 2      |          before himself the ideal film? Some reasons for exclusions
68 2      |        exist. A brief moment in a film can sometimes be sufficient,
69 2      |          the content of the ideal film of action concerns the representation
70 2      |           Now then, can the ideal film take such matter for its
71 2      |           the whole action of the film. The same criterion applies
72 2      |           the topic that an ideal film can also represent evil,
73 2      |         soul.~Therefore the ideal film should flee from any form
74 2      |          the entire course of the film and not merely at the end;
75 2      |       expound to you on the ideal film in relation to its object,
76 2      |         word concerning the ideal film in relation to the Community.~~
77 3      |                    3. - THE IDEAL FILM SEEN AND CONSIDERED IN RELATION
78 3      |   discourse, We remarked that the film producer, in a short span
79 3      |           good. What can an ideal film offer of value to the family,
80 3      |     generous, intrepid.~An action film, which translates all that
81 3      |           the community, an ideal film in the full and true meaning
82 3      |           briefly study the ideal film in its relationship with
83 3      |      question of deciding how the film, which more or less expressly
84 3      |         bases of social life.~The film producer can give important
85 3      |          influence of a well made film, and how much it bends men'
86 3      |     intends? Well then, an action film, such as the one described
87 3      |      promote its progress. Such a film would be far indeed from
88 3      |            it could be everyone's film, because serving the fundamental
89 3      |          development of the ideal film in its relation to the community
90 3      |      infrequently occurs - that a film deals with events in which
91 3      |         less importance, then the film should treat that subject
92 3      |         only one suggestion: if a film, especially an action film,
93 3      |        film, especially an action film, wishes to be faithful to
94 3      |        Catholic, especially, that film will be ideal in which the
95 3      |       children, to whom daily the film speaks its powerful language;