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Additional info for Anatomy of an Adult Film
At the highest mental level are emotions, which Munsterberg considers to be complete mental events. While he never distinguishes, in this 38 book at least, between the mind and its emotions, the latter must organize the powers and activities of the former. The cinematic aspect corresponding to emotion is the story itself, the highest unit or ingredient available to this narrative art, and the one which directs all the lower processes of film. Thus in ascending his psychological hierarchy, Munsterberg has carefully pointed to the material analogues in cinema which relate to each stage of mentality.
Lighting and the absence of color; 4. the framing of the image; 5. the absence of the space-time continuum due to editing; 6. the absence of inputs from the other senses. Every image in film is fraught with at least these six types of unreal aspects. And it is these aspects which must be the raw material of film art. 50 It should be clear why Arnheim chides technological developments such as color, 3-D photography, sound and wide-screen. Each reduces the impact of film by bringing it more into accord with natural experience.
1 Since the materials of cinema are the resources of the mind, the form of cinema must mirror mental events, that is, emotions. Film is the medium not of the world, but of the mind. Its basis lies not in technology but in mental life. At last we can see why Munsterberg pays only fleeting attention to documentaries and instructional movies. They may perform valuable social functions, but they can never attain the stature of the photoplay which is a form based on cinema’s true raw material, the movements of the events of the mind.
Anatomy of an Adult Film by R. Richard, Sunset Thomas