The most radical example is beyond a doubt the apparently heretical confrontation of John Ford’s The Searchers (1956) with Clyfford Still’s large abstract paintings. Focusing on the question of representing immensity -or how to let the un-limited and the un- filmable enter the screen beyond the frame (the dynamic dialectic between the cinematic screen and the pictorial frame being also a recurrent question in the book) precisely allows Bonfand to introduce in detail the original phenomenological concept which withstands the newness and pertinence of the book: the notion of ‘saturation’. .
