Circus elements as transcendental tools in film

From the very beginning, film announced its duality: the style of the documentary works of the film pioneers - the Lumi?re brothers, stood in opposition to the illusionistic experiments of Georges Méli?s. As film language developed, it became clear that film is a mimetic art in a sense that it possesses the quality of capturing reality itself, which was one of the reasons why so many people were obsessed by the silver screen. At the same time the audience was equally overwhelmed by the modification of the reality previously captured, into a deeper, less profane meaning. These subtile modifications (misrepresentations) of reality in film, are a prerequisite for conveying ideas that enrich the narrative and provoke the audience. Transcendence is immanent to film, and film authors base their personal style, their own credo, on experimenting, exploring, balancing within and appreciating this quality. A bundle of tools had been invented for this purpose, from composition of shapes to combination of colors, from narrative to editing techniques. A complete and precise list would be hard to deliver