ABSTRACT
It is easy enough to give the counter-proof of this proposition. To imagine, for example, The Invisible Man (1933; dir. James Whale) as an animated film is to understand immediately that it would lose all interest. What in fact appeals to the audience about the fantastic in the cinema is its realism-I mean, the contradiction between the irrefutable objectivity of the photographic image and the unbelievable nature of the events that it depicts. It is not by chance that the first to comprehend the artistic potential of film was Georges Melies, a magician.
