“But—all claims for intellectual coolness or respect for the mystery of action laid aside—surely Brecht knew, as must Bresson, that such distancing is a source of great emotional power. It is precisely the defect of the naturalistic theater and cinema that, giving itself too readily, it easily consumes and exhausts its effects. Ultimately, the greatest source of emotional power in art lies not in any particular subject matter, however passionate, however universal. It lies in form. The detachment and retarding of the emotions; through the consciousness of form, makes them far stronger and more intense in the end.”