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 1 II|                         II. - THE IDEAL FILM~ Up to the present
 2 II|        ought to be - i.e., of the ideal.~First of all a premise:
 3 II|       premise: can one talk of an ideal moving picture? That is
 4 II|           picture? That is called ideal which lacks nothing of what
 5 II|        this sense can there be an ideal film? Some deny that an
 6 II|        Some deny that an absolute ideal can exist; in other words,
 7 II|       words, they affirm that the ideal is a relative concept, meaning
 8 II|    affirmation of relativity, the ideal will always be found in
 9 II|           a premise, We think the ideal film must be considered
10 1 |                          1. - THE IDEAL FILM CONSIDERED IN RELATION
11 1 |       this regard should mark the ideal film is respect for man.
12 1 |          or to evil, We will call ideal only that film which not
13 1 |           the basic element of an ideal film; but more still can
14 1 |          who has sailed afar.~The ideal moving picture must show
15 1 |           such wise that real and ideal are fused in perfect art
16 1 |        the touch of his wand.~The ideal film, therefore, ought to
17 1 |       legitimate demands? Can the ideal film adapt itself to these
18 1 |       meet such a condition in an ideal form, avoiding, of course,
19 1 |            and be classed even as ideal, since man has shallows
20 1 |          feelings.~Doubtless, the ideal film is allowed to lead
21 1 |         its function.~(d) But the ideal film, considered in reference
22 1 |         and parts of his body.~An ideal film, then, has truly the
23 1 |          the accomplishment of an ideal duty. It is, in reality,
24 1 |        rise to worthy ideals. The ideal film, on the other hand,
25 1 |           outlined, gentlemen, an ideal without concealing the difficulty
26 1 |          bring into existence the ideal film is a privilege of artists
27 1 |                               THE IDEAL FILM - A POWERFUL MEANS
28 1 |          unsullied regions of the ideal film. ~Of this We previously
29 1 |            to the man to whom the ideal film is presented. ~Now
30 2 |                          2. - THE IDEAL FILM CONSIDERED IN RELATION
31 2 |          tracing the lines of the ideal film with respect to its
32 2 |      within the relativity of the ideal, i.e. the real essence of
33 2 |           mind the concept of the ideal, viz. that which lacks nothing
34 2 |      reference to man, it will be ideal in content to the extent
35 2 |  reconciled the relativity of the ideal with its absolute concept.
36 2 |        these, remains outside the ideal region.~It is clear that
37 2 | importance in the creation of the ideal film; but it is equally
38 2 |           on the threshold of the ideal, as, for example, the intrinsic
39 2 |           in this type a possible ideal to follow and its principles
40 2 |      provided it is executed with ideal perfection, would be well
41 2 |        which deserve the title of ideal film.~Nature, which offers
42 2 |           that he expects from an ideal film in this class.~~ACTION
43 2 |       kind of subject matter, the ideal film is no everyday affair;
44 2 |       difficulties with which the ideal film is confronted in actual
45 2 |           puts before himself the ideal film; some of them come
46 2 |           sets before himself the ideal film? Some reasons for exclusions
47 2 |           not expressly such, the ideal plot-film should not pass
48 2 |          about the content of the ideal film of action concerns
49 2 |     previously.~Now then, can the ideal film take such matter for
50 2 |           then, the topic that an ideal film can also represent
51 2 |           the soul.~Therefore the ideal film should flee from any
52 2 |          to expound to you on the ideal film in relation to its
53 2 |         brief word concerning the ideal film in relation to the
54 3 |                          3. - THE IDEAL FILM SEEN AND CONSIDERED
55 3 |          common good. What can an ideal film offer of value to the
56 3 |         good of the community, an ideal film in the full and true
57 3 |          Let Us briefly study the ideal film in its relationship
58 3 |            Our development of the ideal film in its relation to
59 3 |      wishes to be faithful to the ideal in whatever touches the
60 3 |     especially, that film will be ideal in which the Church emerges