ABSTRACT
In the most recent issue of this journal, in an article entitled ‘Scenic Impressionism’, after I demonstrated the similarity between cine-drama and Roman pantomime and defined it by analogy as an art of decadence, I considered the cinema in particular as a new means of expression that more than the theatre, achieves an extreme form of gestural, or rather, musical-scenic drama. But, in this way, as is it easy to comprehend, by considering the cinema beyond, and not on par with theatre, I displaced the question—almost coming to the point of denying it the possibility of being an art form in other ways. Now, this would not be correct. Because if the cinema is not yet an art form, this does not mean that it does not have all the chances of becoming one. Goffredo Bellonci claims that photography is art when we can recognize the personality of the photographer through his choices; with even greater reason, one must call the cinema art when another important factor of the artwork can be seen: the composition.
