Abstract
Each film historian who works on the first decade after the invention is struck by the speed with which the peculiar expressiveness of the medium was developed. It's a situation that we also find in the biographies of artists: here is a boy going to school and in the middle of a passage on his relations to his parents, we turn a page and we are suddenly reading about a poet. What made the change? Did it really happen so imperceptibly? Explanations for the speed of the film's development differ widely. At one end of the scholarly spectrum one finds explanations that would be more appropriate in an account of Florentine paintings of the fourteenth centurythese show us the medium evolving itself, developing its natural powers, paving a road for Fra Angelico Griffith. At the other end of the spectrum the explanation is commerce, a fight for markets and money that prodded each stage of the development with a need for novelties. Somewhere in the middle is the determination-
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