Rudolf Arnheim's Formalist Film Theory

Summary

This video lecture explores Rudolph Arnheim's formalism and the concept of cinematic perception, emphasizing Gestalt psychology's role in understanding film. It contrasts formalism, which sees film as transforming reality, with realism, which views film as reproducing reality. Key points include the idea that perception organizes sensory input into forms, and the concept of 'partial illusion' in cinema, where films simultaneously present both realistic and formal qualities. Examples from early cinema, experimental films, and sequences from Chaplin and Carax illustrate these theories. The lecture concludes with a preview of applying these ideas to Jacques Tati's 'Playtime.'

Takeaways

• 🎬 Rudolph Arnheim's work is deeply influenced by Gestalt psychology, which emphasizes the perception of wholes rather than individual parts.
• 🔍 Gestalt psychology is characterized by the idea that perception organizes sensory input into simple, regular, and balanced forms, which Arnheim applies to both art and film.
• 🎥 Arnheim challenges the notion that film is merely a mechanical reproduction of reality, suggesting that it is a form of organized perception.
• 🎨 Formalism in film theory is contrasted with realism, with formalists focusing on how film transforms reality rather than merely reproducing it.
• 🌐 Arnheim argues that cinema achieves artistic heights when it moves away from photographic reproduction towards a more abstract, animated form.
• 🌈 The concept of 'partial illusion' is central to Arnheim's theory, highlighting that film is both a representation and a formal object.
• 🚂 Arnheim uses examples like the train scene from the Lumière brothers to illustrate how film can be seen as both a representation and an abstract moving image.
• 📸 Camera movement is discussed as a way to create a 'two-fold effect' in film, where the positioning of the camera can change the viewer's perception of the scene.
• 🎭 Arnheim sees 'two-fold effects' in film as emblematic of the medium's ability to present multiple interpretations and challenge the viewer's perception.
• 🤹‍♂️ The script explores how experimental filmmakers like Ken Jacobs can use techniques to reveal the 'partial illusion' inherent in cinematic images.
• 🏙️ The script concludes by suggesting that even in non-experimental films, elements like camera movement and composition can create a sense of 'partial illusion' and formal interest.

Q & A

Who was Rudolf Arnheim?

Rudolf Arnheim was a Gestalt psychologist known for his work on perception and his contributions to film theory.

What is Gestalt psychology?

Gestalt psychology is a field of perceptual psychology that emphasizes the idea that we perceive wholes rather than parts. It emerged in the early 20th century.

How does Gestalt psychology relate to Arnheim's theory of cinema?

Arnheim applied Gestalt principles to his film theory, emphasizing that we perceive films as organized wholes rather than as mere mechanical reproductions of reality.

What does Arnheim mean by 'cinematic perception'?

Cinematic perception, according to Arnheim, refers to the unique way we perceive films, which involves organizing sensory raw material into forms of simplicity, regularity, and balance.

What is formalism in film theory?

Formalism in film theory is the view that film transforms reality rather than merely reproducing it. Formalists focus on the artistic and formal qualities of film.

How does formalism differ from realism in film theory?

Realism in film theory focuses on film's capacity to reproduce physical reality, while formalism emphasizes film's ability to transform and stylize reality.

What does Arnheim mean by 'partial illusion' in film?

Partial illusion refers to the idea that film provides an illusion of reality that is not complete. It maintains its nature as a flat, bounded image while still presenting a lifelike scene.

What is an example of a 'twofold effect' in film according to Arnheim?

A twofold effect occurs when a film scene produces a double perception, such as a visual gag in a Charlie Chaplin film where a scene appears to show one thing but reveals something else.

Why does Arnheim believe camera movement can create partial illusions?

Arnheim believes camera movement creates partial illusions because it provides a sense of motion and depth that is not fully analogous to human movement, highlighting the film's formal properties.

What does Arnheim suggest about the properties of filmic recording?

Arnheim suggests that filmic recording, with its flatness, boundaries, and lack of color (in his time), does not fully reproduce reality but instead offers a stylized and organized perception.

Outlines

00:00

🎬 Introduction to Rudolph Arnheim and Cinematic Perception

This paragraph introduces the topic of the video lecture, focusing on Rudolph Arnheim's perspective on cinematic perception and formalism. Arnheim, a gestalt psychologist, believed that perception involves seeing wholes rather than parts. The paragraph discusses the principles of gestalt psychology, such as the idea that our perception is organized according to principles of simplicity, regularity, and balance. It also contrasts formalism with realism in film theory, highlighting Arnheim's view that film is an art form that transforms reality rather than merely reproducing it.

05:06

🌟 The Concept of Gestalt Psychology in Film

This paragraph delves deeper into the influence of gestalt psychology on Arnheim's film theory. It explains how gestalt psychology emphasizes the perception of wholes, using optical illusions to illustrate this point. The paragraph also discusses how Arnheim applies gestalt principles to film, arguing that film should be seen as an organized form rather than a mechanical reproduction of reality. The concept of 'partial illusion' is introduced, suggesting that film provides a limited, yet meaningful, representation of reality.

10:11

🎥 Formalism and the Distinctiveness of Cinema

The third paragraph explores the concept of formalism in relation to cinema, contrasting it with realism. It discusses how formalists view film as a medium that transforms reality, while realists see film as a means of reproducing reality. The paragraph also touches on the historical context of early cinema, comparing the approaches of the Lumière brothers with those of Georges Méliès. Arnheim's view is presented as advocating for a middle ground, where film is seen as a unique art form that is both a representation and a formal object.

15:15

🚂 The Dynamics of Film Form and Partial Illusion

This paragraph examines the dynamics of film form, particularly in the context of camera movement and the perception of movement on screen. Arnheim's analysis of a train scene from an early film is used to illustrate how film can create a sense of movement and form that is distinct from the actual movement of objects. The concept of 'partial illusion' is further explored, showing how film can be both an image and a representation of action, emphasizing the dual nature of cinematic perception.

20:16

🎬 Two-Fold Effects and Gestalt Perception in Film

The final paragraph discusses the concept of 'two-fold effects' in film, which are moments where film presents multiple interpretations or perceptions simultaneously. This idea is linked to gestalt psychology's concept of multi-stability, where an image can be seen in multiple ways. Examples from Charlie Chaplin's films are used to demonstrate how the positioning of the camera and the editing of scenes can create these effects, highlighting the artistic potential of film to surprise and engage the viewer.

Keywords

💡Cinematic Perception

Cinematic perception refers to how viewers interpret and understand the visual elements presented in a film. In the context of the video, it is tied to Rudolph Arnheim's theories, emphasizing the idea that film is not merely a mechanical reproduction of reality but an organized, artistic translation of observed characteristics. This concept is central to understanding Arnheim's approach to film as an art form.

💡Formalism

Formalism is a theoretical perspective in film theory that focuses on the film's form and structure, rather than its content or its ability to represent reality. The video discusses formalism in contrast to realism, highlighting Arnheim's belief that film achieves its artistic potential when it moves away from mere photographic reproduction and embraces its unique formal qualities.

💡Gestalt Psychology

Gestalt psychology is a school of thought in perceptual psychology that emerged in the early 20th century. It is characterized by the belief that individuals perceive the world as organized wholes, rather than as a collection of individual parts. In the video, Arnheim's work is deeply influenced by Gestalt psychology, suggesting that our perception of film is also holistic, seeing forms and shapes rather than a stream of chaotic data.

💡Perception

Perception, as discussed in the video, is the process by which individuals interpret sensory information to understand the world around them. It is central to Arnheim's theories, as he argues that film should be considered in terms of how it organizes sensory material into forms that resonate with our perceptual processes.

💡Partial Illusion

Partial illusion is a concept introduced by Arnheim to describe the dual nature of film. It refers to the way film provides a flat, two-dimensional image that simultaneously represents a three-dimensional reality. The video uses this term to discuss how film is both an image and a representation of action, emphasizing the unique way film balances these aspects.

💡Two-Fold Effects

Two-fold effects, as mentioned in the video, are moments in film where the viewer perceives two different interpretations of a scene simultaneously. This concept is linked to Gestalt psychology's idea of multi-stability, where an image can be seen in multiple ways. Arnheim uses this concept to illustrate the artistic potential of film, showing how it can play with perception to create surprising and engaging visual experiences.

💡Aspect Perception

Aspect perception is a concept from Gestalt psychology that refers to the ability to see multiple aspects or interpretations of an image at once. In the video, this is related to the way film can present scenes in a way that allows viewers to perceive different meanings or interpretations, enhancing the film's artistic depth.

💡Realism

Realism in film theory is the idea that film's primary function is to reproduce or represent reality. The video contrasts realism with formalism, discussing how Arnheim and other formalists argue that film's artistic value lies in its ability to transform reality, not merely replicate it.

💡Necker Cube

The Necker cube is an optical illusion often used in Gestalt psychology to illustrate how the brain perceives ambiguous figures. In the video, it is used as an example of how our perception can switch between seeing two different interpretations of the same image, which parallels the way film can present scenes with multiple interpretations.

💡Camera Movement

Camera movement is a technical aspect of filmmaking that involves the physical movement of the camera during filming. The video discusses how camera movement can create a sense of movement and dynamism in film, but also how it can be used to play with the viewer's perception, creating a 'partial illusion' that enhances the film's formal qualities.

💡Animation

Animation, particularly avant-garde non-representational animation, is mentioned in the video as an example of film at its most formal. Arnheim suggests that animation, being less tied to photographic reproduction, can achieve a higher level of artistic expression by focusing on the formal qualities of the moving image.

Highlights

Introduction to Rudolph Arnheim and his formalism in the context of cinematic perception.

Exploration of the concept of cinematic perception as defined by Arnheim and the role of Gestalt psychology.

Discussion on the Gestalt psychology mantra that we perceive wholes, not parts, illustrated through optical illusions.

Arnheim's view that perception is organized according to principles of simplicity, regularity, and balance.

The distinction between film as a mechanical reproduction of reality and film as a form of art.

Arnheim's argument that film reaches the heights of art when it frees itself from photographic reproduction.

The concept of partial illusion in film, emphasizing the film's flatness and limited perceptual richness.

Analysis of how film properties like flatness and rectangular boundaries contribute to its distinct form.

Introduction of the term 'formalism' in film theory and its contrast with realism.

Examples of film theorists and movements associated with formalism and realism, such as Italian neorealism and Soviet montage.

Arnheim's perspective on cinema's distinction from human perception and its unique artistic qualities.

The idea that film is a 'partial illusion' and its implications for understanding cinematic images.

Arnheim's analysis of the famous train arriving at the station film, highlighting the dynamic power of forward movement.

Discussion on the role of camera movement in creating a sense of natural movement versus the abstract quality of film images.

The concept of 'two-fold effects' in film, where a scene can be interpreted in multiple ways.

Examples from Charlie Chaplin's films illustrating the use of camera positioning to create two-fold effects.

The connection between two-fold effects and Gestalt psychology's concept of multi-stability.

Application of these concepts to Jacques Tati's film 'Play Time' in the next video lecture.

Transcripts

hi folks and welcome to the video lecture on  rudolph arnheim and his formalism um and the  

notion of cinematic perception um so the things  we're going to be talking about are what do we  

mean by cinematic perception for arnheim and what  do we mean by formalism first let's like fixate on  

this word perception um rudolph arnheim was known  as a gestalt psychologist gestalt psychology was a  

field of perceptual psychology that emerged around  the early 20th centuries and rudolf arnheim was  

a devotee of this particular school of thought  but even more so in arnhem's writing of on film  

you can see the influence of gestalt psychology so  what do we mean by gestalt psychology well there's  

a mantra of gestalt psychology which is that we  perceive holes and not parts uh what does that  

look like um if you've ever seen um diagrams like  this one especially images like this or images  

like this those kinds of diagrams were circulated  widely by gestalt psychologists we think of them  

as optical illusions but they more so for  the gestalt psychologists illustrate certain  

perceptual principles of how we perceive the world  in holes and not parts so if you look at this  

image for a moment and for some of you maybe most  of you there will be a moment when you stop seeing  

it as an abstract collection of dots and you'll  start to see a form emerge that kind of experience  

of emergence is a version of gestalt  perception or here the fact that we can see  

two distinct holes within one uh particular image  right the vase and the two faces or with necker  

cube we can see it as i'm jutting out this way  um or or jutting out that way um is an example  

of seeing holes gestalt means form or whole so  take a look at the rest of these and some of them  

will actually come into play in rudolph arnheim's  theory of cinema so you can also have a bit of fun  

with gestalt psychology i want to say that uh the  reason that we can easily see two faces in one  

singular face these are both composite images  of famous actors with within famous movies is  

result of gestalt psychology they may seem like  unfamiliar faces to you but if you stare at them  

long enough it's likely the case that a face that  you recognize will kind of pop out as a whole and  

you can't unsee it that kind of phenomenon is  a gestalt phenomenon so where do we see this in  

arnhem's writing i want to take an important quote  from arnheim's writing that's not in our reading  

but that really kind of captures the essence  of how gestalt thinking and arnheim's film  

theory come together he writes even the most  elementary processes of vision do not produce  

mechanical recordings of the outer world but  organize the sensory raw material according  

to principles of simplicity regularity and  balance this discovery of the gestalt school  

fitted the notion that the work of art too  is not simply an imitation but a translation  

of observed characteristics into the forms of a  given medium the operative word here is organize  

right he's making a claim um that art doesn't  simply transform perception but perception is  

already itself something that is organized right  arnhem is saying we already add forms um to what  

we see in the world we don't merely see a kind of  stream of chaotic data we see forms shapes holes  

so that's kind of the perception aspect what's  this formalism term that i'm introducing if you  

remember from our discussion last week  i brought it up with respect to the way  

some of us were talking about our theories about  film and i noticed that some of us in the class  

were already um film theoretical formalists  what do i mean by being a formalist um well  

it's a kind of useful but sometimes reductive  binary way of thinking about two strains of  

film theory on the left we have formalism on  the right we have realism the realist thinkers  

are those who basically are interested in the in  film's capacity to reproduce reality or you might  

call it physical or material reality the thinkers  most readily associated with that are andre bazan  

and siegfried krakauer and a handful of others um  on the other side we have film theorists who are  

obsessed with the idea that film doesn't reproduce  reality but that it transforms reality so take  

this quote from arnheim as kind of the beginning  idea that spawns these two camps of thought this  

is how arnheim begins our reading he says there  are still many educated people who stoutly deny  

the possibility that film might be art they say  in effect quote film cannot be art for it does  

nothing but reproduce reality mechanically  in many ways this idea that film reproduces  

reality is the starting point for both both  sides are at least in some aspects of their  

theory world we'll acknowledge this what makes you  a formless or a realist is how you respond to that  

the arnheims will say if it reproduces  reality let's think about the ways that  

it's say maybe doesn't reproduce reality or  rather instruct filmmakers to stray away from  

the reproduction of reality for your bazaans and  your crack hours the idea is to say if that's  

what it does naturally let's let's think about  aesthetic conventions that harness that power  

um so we can also think about formalism and  realism in terms of not just filmmakers or  

rather theorists but kinds of films right the  italian neorealists would be as you might guess  

placed under the realist camp on the other  hand you might have soviet montage or something  

like battleship potemkin often associated  with formalism we might also think about  

early cinema as very quickly giving rise to  two caps of realism and formalism if we allow  

ourselves to stretch that definition um a bit  further right we have lumiere with the realists  

and we have george melies with the formless  simply because the lumieres we generally think  

of as tapping into the film's or the camera's  natural proclivity for capturing material reality  

or melies who's obsessed with camera tricks and  special effects that deny that natural ability  

so let's go back to those two basic questions  from last time what is cinema and what does it do  

what makes cinema distinct from the other arts  what we might think of arnheim as doing is taking  

the second question and expanding it and saying  it's not just about what makes him a medicine  

from the other arts like in like theater  of course that's a big part of his argument  

but he takes it a bit further and he says what  makes cinema distinct from human perception  

so we can think about arnheim's project as  starting with this problem that we mentioned  

a minute ago film cannot be art because it does  nothing but reproduce reality mechanically and  

he kind of places it along a spectrum if this is  the starting issue what kinds of um films might we  

make um in order to avoid the problem well in one  part of his book arnheim will state the kind of  

most uh absolute formalist claim which is that  cinema will be able to reach the heights of other  

arts only when it frees itself from photographic  reproduction and becomes a pure work of man and  

an animated cartoon or painting so you can  actually see this idea of formalism in its  

most extreme form with something like avant-garde  non-representational animation which was indeed  

proliferating in the 1920s when arnheim was  writing the essays that comprise the book film as  

art but for the most part arnheim's writing is  not a detailed analysis of abstract animation  

is actually looking at cinematographic recording  at in its place in film and he'll look at this  

kind of middle position he'll say film does  not quite reproduce reality mechanically  

and i'm not only saying that film should avoid  recording altogether by turning to animation he  

wants to say something like this in the middle by  the absence of colors of three-dimensional depth  

by being sharply limited by the margins on the  screen film is most satisfactorily denuded of  

its realism in other words he's saying that if  we pay attention to the properties of filmic  

recording not just the capacities of storytelling  and editing but even more basically the fact that  

the image is flat that it has firm rectangular  boundaries that especially in the 1920s when  

he's writing it lacks color it also lacks sound  um you can see that film is not in fact a pure  

reproduction of reality because of all  the ways in which it doesn't approximate  

our perceptual richness when we encounter the  world and this very idea is going to be linked  

up to a um a recurring concept throughout arnhem's  writing in the excerpt that i asked you to look at  

and that concept is called partial illusion so he  writes a little bit above and a little bit below  

this particular passage thus film provides a  partial illusion it is always at one and the  

same time a flat picture postcard and the scene  of a living action so one way to make sense  

of arnheim is to think about all the ways he wants  to insist that film despite having a perceptual  

richness that's analogous to our visual perception  of material reality is still nevertheless  

a picture an image it is flat and it  can be thought of as a purely formal  

kind of object so what do we mean by formal  object well you can see that displayed  

in a number of passages in fact he does a lot  of kind of mini close readings of scenes from  

films and this one he does a kind of abstract  reading of um what sounds like uh the famous  

uh train arriving at the station film  and you can see what he means by form  

when you take a look at this passage this is  what he says he says everyone has seen a railway  

engine rushing on the scene in a film it seems  to be coming straight at the audience the effect  

is most vivid because the dynamic power of the  forward rushing movement is enhanced by another  

source of dynamics that has no inherent connection  with the object itself that is with the locomotive  

but depends on the position of the spectator or in  other words the camera the nearer the engine comes  

the larger it appears the dark mass on screen  spreads in every direction at a tremendous pace  

and the actual objective movement of the engine  is strengthened by this dilation so what is he  

doing here well in some sense he's telling us  to look at an ordinary scene something like this  

this famous you know first film from the lumiere  brothers the train arrives at the station and he  

asks us to suspend our judgment that it is merely  equivalent with what it represents that is a train  

moving close to the camera and one  way we can think about this is if we  

start to take away the details that make it a  very strong compelling representation of a train  

and start to think of it as an abstract um moving  image of of masses of of particles or of of lines  

and shapes right thinking that thinking of it in  terms of forms he's really interested in this idea  

that you can think about this as a swelling of  an object rather quickly right it's almost as if  

arnhem thinks about film as if every film is an  experimental film right devoid of representation  

he wants us to see that every film does indeed  have those formal imaged qualities but sometimes  

we forget about them because we think of content  first and form second so what's the kind of way we  

can think about this idea of partial illusion  well one example is camera movement there's a  

section of the reading in which he talks  about the phenomenon of the moving camera  

and he talks about the way that it appears to our  senses in some sense a natural understanding of  

camera movement is that it approximates human  movement right when i move through the world  

the world seems to rush by but for the most part  i see it as myself moving and the world is static  

he thinks that that is in fact not always the  case so let's take a look at this passage he  

says certain parallels which are sometimes drawn  between the functioning of the human eye and the  

camera for instance the comparison between the  mobility of the eyes and that of the camera  

are false um once again think about the kind  of the the large claim being made here it's an  

intuitive claim that when a camera moves through  the world it's analogous to our eyes moving to  

the world he says that's false if the camera  was rotated while the picture was being shot  

very much so like in this well-known experimental  film by chantal ackerman called lashambra  

the bookcase table window and door will proceed  across the screen when the picture is projected it  

is they which are moving in other words he wants  to say that while when i look at this particular  

image i may indeed read it as a camera panning in  a kind of 360 degree fashion he wants to say that  

there's also a sense in which the objects move  leftward across a two-dimensional bounded image  

in almost every case there is an element of  twofoldness of twoness or rather a partial  

illusion that's happening right um i might say  that the partial illusion is at its smallest um in  

forward camera movement because it's very hard to  look at these instances without thinking about me  

moving through the space depicted they  have a very strong illusory quality um  

but as a formal experimental filmmaker like  ken jacobs will demonstrate there are ways  

in which we can say unlock the picture-ness or  the partial illusion that's always bound up in  

cinematic images including that strongly illusory  feeling of moving through the world ushered in by  

a forward moving camera this is a film  of ken jacobs called georgetown loop  

in which he takes a early cinematic film a  what's known as a phantom ride a conventional  

form in which a camera was placed on the  front of a locomotive and then he quickly  

juxtaposes it with its mirror image and very  soon what happens is that this no longer feels  

like a forward moving camera it looks like  a two-dimensional abstract a two-dimensional  

abstraction looks like a rorschach inkblot  in many ways or rather a moving rojak  

inkblot and i think hornheim would be very  pleased with this experimental film because  

it seems to demonstrate that that partial  illusion even though our habits of perception  

suppress it we can kind of activate activate  it through particular ways of making movies  

i want to say that even in less experimental or  not at all experimental examples you can see a  

kind of partial illusion or maybe a twofoldness  happening this is one of my favorite sequences  

from movies it's a scene in leocarex's movie song  in which the lead character runs across the screen  

but just think about what arnheim might say  about it as purely a kinetic moving composition

okay so imagine what rudolph arnheim would  say if he was presented with this particular  

sequence i think that he would it would  demonstrate the fact that the effect  

that's produced what we might call a kinetic  effect that's produced in this in this sequence  

a kind of rhythmic visual intensity is produced  because not just the fact that the camera moves  

but the way that it moves that is completely  sideways and the fact that it is moving  

rightward with respect to a flat um surface  that is corrugated with alternating stripes of  

black and gray and when we move across them they  kind of vibrate and and give us this quality and  

the quality is very much kind of flat it's  kind of a picture postcard you might say  

of a living action and it's both a representation  of a man running through space but it's also much  

more than that right its formal qualities are  pronounced um over and against the simplicity  

of its of its content um so how do we get from  partial illusion to what arnheim will call later  

in his uh in his writing two-fold effects well  here's what i mean by two-fold effects he says  

a two-fold effect can be produced  by a clever position of the camera  

if an artist's impression is to be achieved this  double effect is necessary it must not only show  

the subject in characteristic fashion but must at  the same time satisfy the spectator sense of form  

so he's saying a lot here first what i mean by two  twofold effect is something like this there's a  

couple moments where he reads moments in charlie  chaplin's films this particular one is a gag  

in which we first see a kind of rolling ship the  camera is going back and forth to give us a sense  

that the ship is extremely rocky and then we cut  to chaplin looking as if he's likely vomiting over  

the edge of the boat due to seasickness but very  soon chaplin will reveal the fact that this is not  

the case but he was trying to reel in a fish  there's a twofoldness that is responsible for  

the gag happening that we saw it as one thing  with respect to what we saw before and then it  

revealed that it was in fact another thing now  arnheim is very obsessed with this kind of thing  

why is he obsessed with it he seems to think that  there's a particular artistic impression achieved  

with two-fold effects like this partly because  for arnheim they emblematize the idea that film  

is always a partial illusion that it's always two  things at once and also the fact that in each of  

these cases the illusion is only produced with  respect to where the camera is placed in space  

in other words it matters absolutely that we  shoot charlie chaplin precisely from this angle  

otherwise the gag would not happen munzerberg  might say that this is important as a way to  

distinguish film from theater arnheim wants to say  that there is a kind of greater importance to this  

kind of possibility in the cinematic medium right  the effect of surprise is achieved by making use  

of the fact that the spectator will be looking  at the situation from a certain definite position  

right so this two-fold effect is a kind of aspect  perception or multi-stability so another reason  

that we might think arnhem gravitates towards  these examples is because they're extremely  

important in gestalt psychology they represent  our proclivity for seeing the world in terms of  

holes right in this case i see two things at once  or rather back and forth a duck and a rabbit once  

again here i see two different positionalities  of the necker cube and here i see two faces and  

i go back and forth between that between seeing  that and a vase these things are ways of making  

sense of how we see the world he's applying it to  how we see film as distinct from how we see the  

world and we already talked about this image in  logite as having a kind of multi stability right  

it can be seen both as our protagonist kind of  flying backward after he's been shot but it also  

looks as if it's the figure of of death hooded  with his right hand extended into the air so  

that's all we're going to have for this particular  video lesson next time we're going to apply these  

ideas of partial illusion aspect perception and  cinematic seeing to jacques tati's play time