QUIGLY
generation of critical opinion, mostly under' graduates made vocal in Oxford Opinion (twelve enormous years after Sequence), who care for only the visual image—and an individual visual image at that; moments isolated from subject. general content of the film, and supremely--oh supremely!—isolated from life. Richard Roud follows this article with one on the present French critics that shows what mean in practice. Their purist attitude (linked' of course, with the whole cult of violence, art for kicks, emotional rather than intellectual' indeed anti-intellectual—responses) goes so 13r in rejecting what the film is about that many 01t them seem to 'prefer the second-rate, unimPorle ant, meaningless story.' The reaction against social realism has gone so far that criticism hac become largely a 'critique des beautes'—'x
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