Short excerpts from the reviews

The author treats one of the most difficult subjects from the field of film the¬ory. Although there is a vast literature devoted to this problem, it doesn't give satisfactory solutions. Nono Dragovic has proposed his own concept, entirely original and in the same time verified in creative practice. Linking the experience of the artistic experience with the theoretical invention has brought an extraordinary result worth paying attention to. Dragovic has taken the anthropologic concept as a base for his thinking, looking for objective rules which in the creative process are realized mostly intuitively. I find this work an important contribution to the development of the film thought.

Alicja Helman, PhD

The re-elevation of the film motion, bringing the discourse about motion to the theoretical level which was unavailable to the earlier theoreticians, and - in the end - a successful anthropomorphisation of time, space and motion categories, these are the basic values of Mr Dragovic's book which gives us right to assess his scientific undertaking as extremely successful. But its worth lies not only in "general" values. Many interesting observations, proposals worth paying attention to and unique solutions can be found there as well.

Dragovic constantly manifests his practical approach… Thanks to this position he avoided abstract theorising which does not care about creative reality, which would certainly be fatal for the theory itself. Author has built some kind of a bridge between a theoretician and a creator, showing that with such approach to the film discourse both can benefit undoubtedly.

Aleksander Kumor, PhD

The subject of Mr Dragovic's book is one of the most complex in the whole theory of film and very rarely treated. It treats not only time and space aspects of film, but also fundamental rules connected with the creation and perception of film, dramaturgy, staging, editing itd. Apart from all that the whole discourse makes up a very valuable didactic material which can be used by the professors of not only our School, but also other film schools in the world.

Deputy vice-chancellor Jolanta Leman,

PhD, The National Film School Lodz