Paisá (Roberto Rossellini, 1946)
“The objective nature of the modern novel, by reducing the strictly grammatical aspect of its stylistics to a minimum, has laid bare the secret essence of style. Certain qualities of the language of Faulkner, Hemingway, or Malraux would certainly not come through in translation, but the essential quality of their styles would not suffer because their style is almost completely identical with their narrative technique – the ordering in time of fragments of reality. The style becomes the inner dynamic principle of the narrative, somewhat like the relation of energy to matter or the specific physics of the work, as it were. This it is which distributes the fragmented realities across the aesthetic spectrum of the narrative, which polarizes the filings of the facts without changing their chemical compositions. A Faulkner, a Malraux, a Dos Passos, each has his personal universe which is defined by nature of the facts reported, but also by the law of gravity which holds them suspended above chaos.”
BAZIN, André. What is Cinema?
Toute la mémoire du monde 