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But amazingly enough, the process succeeded. "Even more, a mysterious extra meaning [was] gained from the juxtaposition of two images which was not present in either of the shots themselves. ... In short, we discovered that the human mind was predisposed to cinematic grammar as if it were an entirely natural, inborn language." Perhaps it is inborn, he says, because we spend one-third of our lives "in the nightly world of dreams. There, images are fragmented and different realities collide abruptly with what seems ... to have great meaning." So he sees film editing as, probably unknowingly, employing the power and means of dream.
This percept is like a flash of lightning that lasts. Murch concludes that for many millions of years, human beings were carrying within them the ability to respond to film and were unconsciously awaiting its arrival in order to employ their dream-faculty more fully. Some of us have long believed that, through more recent centuries, theater artists and audiences have been longing for the film to be invented even without a clue that there could be such a medium. Many tricks of stagecraft in those centuries were, without knowing it, attempting to be cross-cuts and double images. Some dramatists imagined their work in forms and perspectives that anticipated film (most notably and excitingly, Büchner's Danton's Death).
Now Murch tells us that these theater attempts at prognostication a few centuries earlier are puny stuff: for millions of years, homo sapiens has been unwittingly prepared for the intricacies of film, has indeed been preparing for them every night. Murch proposes with stirring insight that the last century, the mere one hundred years of film's existence, has been, for one human faculty, the emotional and psychological goal of the ages.
