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The great movie comedians—Chaplin, Keaton, W. C. Fields—form a set of types that could not have been adapted from any other medium. Its creation depended upon two conditions of the film medium mentioned earlier. These conditions seem to be necessities, not merely possibilities, so I will say that two necessities of the medium were discovered or Ideas of Origin I 37 expanded in the creation of these types. First, movie performers cannot project, but are projected. Second, photographs are of the world, in which human beings are not ontologically favored over the rest of nature, in which objects are not props but natural allies (or enemies) of the human character.

To discover ways Qf making sense is always a matter of the relation of an artist to his art, each discovering the other. Panofsky uncharacteristically skips a step when he describes the early silent films as an "unknown language . . " 19 His notion is (with good reason, writing when he did) of a few industrialists forcing their productions upon an addicted multitude. But from the beginning the language was not "unknown"; it was known to its creators, those who found themselves speaking it; and in the beginning there was no "public" in question; there were just some curious people.

But wanting to say that may well make us ontologically restless. "Photographs present us with things themselves" sounds, and ought to sound, false or paradoxical. Obviously a photograph of an earthquake, or of Garbo, is not an earthquake happening (fortunately), or Garbo in the flesh (unfortunately). But this is not very informative. And, moreover, it is no less paradoxical or false to hold up a photograph of Garbo and say, "That is not Garbo," if all you mean is that the object you are holding up is not a human creature.

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