beaut░ _n atroc_t_es )mel ░_░░░░(

Discovered days prior to the Spitzer journals. Believed to be part of an extended critique from the Driedval, possibly earlier. Piece is thought to be the first page of about 20 - 30 following pages, all but this one are as of now undiscovered. Page heavily edited prior to discovery, either by the original author or a later party. Subject matter is of 'cinema' yet )VAGUE INTERPRETATION( Custom translation.



_n d_scuss_ng the representat_on of N░░░ on f_lm, Br░an Che░ette asserts that d_am_tr____l░ opposed representat_ons of sub_ect matter can be nonetheless _nt_matel░ related. Th_s cla_m _s based on oppos_n░ representat_onal v_ews of N░░░; what one source _ns_sts _mposs_ble to dep_ct on f_lm _s done so b░ another source. Che░ette’s assertion is based on the f_lms _______ a b_furcat_on _n represent_n░ N░░░ on f_lm. One ma░ choose ___________ N░░░ w_thout us_n░ v_v_d _mager░. Th_s v_sual abnegat_on contrasts _________________ E_senste_n_an )attract_ons.( These attract_ons create v_sual p_eas__e and seduct_on _______________ orchestrat_ons _nst_gated ____ _tself.


]grotesque events[

[Sincerely seductive, lasting only 11 – 20 seconds, relapse.]
Georges Méliès expanded upon the topicals and travel films of Lumière by adding a fantasy narrative, though his passion in the cinema lay outside of schematic storytelling. Méliès said himself of his working method, “As for the scenario, the ‘fable,’ or ‘tale,’ I only consider it in the end. I can state that the scenario constructed in this manner has no importance, since I use it merely as a pretext for the ‘stage effects,’ the ‘tricks,’ or for a nicely arranged tableau.” The narrative does not so much concern Méliès’ script, but is strengthened by the tricks. In this way, the director of Le Voyage dans la Lune (1902) is able to create a genuine fascination in the audience through the illusory power of his tricks. This magical ambience is the thing which genre films strive for. As Gunning himself said of genre films, ______________(_______ , crazy_____)______. Elsaesser’s claim of following the rules of attractions through visual stimulation can thus be attributed to the magical illusions of early cinema. Quite similarly, N░░░ on film. ______________second choice of the bifurcation, which engages in the endless possibilities of cinematic expression though effects, is discussed in relation to Leni __________ (1935) and Mel __________ (2004). The Cheyette assertion can be expanded towards the analysis of ostensibly opposing films centered around characters on the opposite side of the ethical spectrum: messiah and martyr versus maniac madman; the good figure versus the evil one, each separated by nearly two thousand years.