As Hegel Put It, Only When It

Only He Who Can View His Own Past As An Abortion Sprung From Compulsion And Need Can Use It To Full Advantage In The Present. For What One Has Lived Is At Best Comparable To A Beautiful Statue Which Has Had All Its Limbs Knocked Off In Transit, And Now Yields Nothing But The Precious Block Out Of Which The Image Of One's Future Must Be Hewn.

Nothing Is Poorer Than A Truth Expressed As It Was Thought. Committed To Writing In Such Cases, It Is Not Even A Bad Photograph. Truth Wants To Be Startled Abruptly, At One Stroke, From Her Self-immersion, Whether By Uproar, Music Or Cries For Help.

By Close-ups Of The Things Around Us, By Focusing On Hidden Details Of Familiar Objects, By Exploring Commonplace Milieus Under The Ingenious Guidance Of The Camera, The Film, On The One Hand, Extends Our Comprehension Of The Necessities Which Rule Our Lives; On The Other Hand, It Manages To Assure Us Of An Immense And Unexpected Field Of Action.

Rather Than Ask, What Is The Attitude Of A Work To The Relations Of Production Of Its Time? I Should Like To Ask, What Is Its Position In Them.

... [l]ess Than At Any Time Does A Simple Reproduction Of Reality Tell Us Anything About Reality. A Photograph Of The Krupp Works Or Gec Yields Almost Nothing About Those Institutions. Reality Proper Has Slipped Into The Functional. The Reification Of Human Relationships, The Factory, Let's Say, No Longer Reveals These Relationships. Therefore Something Has To Be Constructed, Something Artificial, Something Set Up.