Its tractability is astonishing — protean, not too much
to say
magical; in describing his first film experience as a visit
to «the
kingdom of shadows,» Maxim Gorky brushes up against the ineffable sublimity of a medium that mimics the eye, stimulates the ear, and has as one of the
key elements of its academic study a concept that suggests the moment a viewer finds himself «sutured» into the text.