Abstract
One of the common and commonsensical ways to distinguish cinema from every other art and semiotic system, and to define the property of its uniqueness, is to claim that cinema is the only art/”language” that links images. This “linking” can imply three different yet complementary operations. First, cinema links individual still photographs into an apparently continuous sequence of movement by pushing the individual frames or photographs through a camera or projector at sixteen or twenty-four or however many frames per second. Second, cinema links images by editing , by splicing together individual shots, which are continuous chains of linked frames. Finally, cinema links images with sounds, synchronously or otherwise. The only problem with such an apparently unrestrictive and unprescriptive definition of cinema and the “cinematic” is that it obscures an essentially cinematic operation that precedes the linking of cinema images: the image must first be framed before it can be linked with another.But is framing unique to cinema? Don’t paintings have frames? Aren’t photographs frames? Isn’t the theater’s proscenium arch a frame? A consequence of such perfectly sensible questions is a consistent undervaluing of the cinema frame as an essentially and uniquely cinematic tool, unlike that of any other art, producing serious errors in the writing of film theory and serious misunderstandings of the processes of film history. The goal of this article is to diagnose some of these errors so they might someday be cured. Gerald Mast is professor of English and general in the humanities at the University of Chicago. Among his many books are A Short History of the Movies, The Comic Mind: Comedy and the Movies, Film/Cinema/Movie, The Movies in Our Midst, and Howard Hawks, Storyteller. His previous contributions to Critical Inquiry are “What Isn’t Cinema?” and “Kracauer’s Two Tendencies and the Early History of Film Narrative”