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The author considers the problem of the only film by Eleonora Duse, Cenere, and of its semi-failure. The author perceives a method of working in the cinema that was sensed by Duse but did not totally mature; it was based on the composition of expressive fragments – neither narrative nor mimetic –, a montage of culminating points held together through the continuity of music rather than by the coherence of the images.
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