costumes that any six-year-old can now enjoy as readily as any adult. T. S. Eliot reported how, in the making of the film of his Murder in the Cathedral, it was not only necessary to have costumes of the period, but --so great is the precision and tyranny of the camera eye --these costumes had to be woven by the same techniques as those used in the twelfth century. Hollywood, amidst much illusion, had also to provide authentic scholarly replicas of many past scenes. The stage and TV can make do with very rough approximations, because they offer an image of low definition that evades detailed scrutiny. At first, however, it was the detailed realism of writers like Dickens that inspired movie pioneers like D. W. Griffiths, who carried a copy of a Dickens novel on location. The realistic novel, that arose with the newspaper form of communal cross-section and human-interest coverage in the eighteenth century, was a complete anticipation of film form. Even the poets took up the same panoramic style, with human interest vignettes and close-ups as variant. Gray's Elegy, Burns' The Cotter's Saturday Night, Wordsworth's Michael, and Byron's Childe Harold are all like shooting scripts for some contemporary documentary film. "The kettle began it. ..." Such is the opening of Dickens' Cricket and the Hearth. If the modern novel came out of Gogol's The Overcoat, the modern movie, says Eisenstein, boiled up out of that kettle. It should be plain that the American and even British approach to film is much lacking in that free interplay among the senses and the media that seems so natural to Eisenstein or Rene Clair. For the Russian, especially, it is easy to approach any situation structurally, which is to say, sculpturally. To Eisenstein, the overwhelming fact of film was that it is an "act of juxtaposition." But to a culture in an extreme reach of typographic conditioning, the juxtaposition must be one of uniform and connected characters and qualities. There must be no leaps from the unique space of the tea kettle to the unique space of the kitten or the boot. If such objects appear, they must be leveled off