Nevertheless, the key element is the underlying
structure. Books embody the characteristics of language and
trigger experiences within the confines of these
characteristics. When faced with practical requirements and
challenges resulting from a new scale of existence, the human
being constitutes alternatives better adapted to a dynamics of
change for which books and the experience they entail are only
partially appropriate.
Books in which even literate people sometimes got lost, or for
which we do not have time or patience, are interpreted for us,
condensed in the movie. The fact is that more than a generation
has now had access to established works of fiction and drama, as
well as scientific, historic, or geographic accounts only through
films. A price was paid-there is no equivalent between the book
and film-and is being paid, but this is not the issue here. What
is the issue is the advent of cinematography in the framework in
which literacy ceased to support experiences other than those
based on its structure.
Films are mediating expressions better adapted than language to a
more segmented reality of social existence. They are also
adapted to the dynamics of change and to the global nature of
human existence. They prepared us for electronic media, but not
before generating those strange books (or are they?) that
transcribe films for a market so obsessed with success that it
will buy the rudimentary transcription together with the
paraphernalia derived from the stage design and from the
costumes used by the characters.
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