The history of cinema is often treated as the history of its emancipation from theatrical models. First of all from theatrical “frontality” (the unmoving camera reproducing the situation of the spectator of a play fixed in his seat), then from theatrical acting (gestures needlessly stylized, exaggerated—needlessly, because now the actor could be seen “close up”), then from theatrical furnishings (unnecessary distancing of the audience’s emotions, disregarding the opportunity to immerse the audience in reality). Movies are regarded as advancing from theatrical stasis to cinematic fluidity, from
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