The new vision

The new eye of the camera soon creates a new mechanic of vision. It invents new perspectives thus giving the viewer, the human eye points of view heretofore unimagined, impossible. The vision of cinema quickly becomes different, broadened, enhanced with respect to that of the viewer. If the cinema is born out of the necessity of analysis (Marey) rather than of the highlights of movement, the camera displays its wondrous power in its capacity to show the impossible: slow-motions, microphotography, aerial photography translate images for the public which it had heretofore been denied. Zeppelin angriff auf England reveals the aerial perspective, the propaganda of technology’s potential, both aviation and cinematographic; Les Mouches or Le dytique didactically bestow unthought of “close-up shots”. Singularly Education physique etudiée au ralentisseur is an anthem to the power of the cinematographic means, to the wonder of its potentiality. The camera comprehensively excels -and certainly it has done this from the beginning- the pseudo-scientific interest of the shots. The new representation of the world is also, and above all, a new vision of the world, heretofore impossible, which is now rapidly imposing itself on an absolutely vast public.