Unlike the writers considered in the previous chapter, the poet and novelist H.D. (Hilda Doolittle) was actively involved in film-making for a time. Throughout her career she remained obsessively preoccupied with the visual but constantly pushed against the limits of visibility. ‘Vision’ was a term which oscillated in her works between the physical and the transcendental, and for her film was a crucial medium for exploring this border area. Although she witnessed the shooting of scenes for a Mary Pickford film in Carmel in 1920, her closest involvement in the cinema took place between 1927 and 1933, and in the midst of her enthusiasm she declared: ‘the world of the film to-day […] is no longer the world of the film, it is the world’. For H.D., as for Henri Bergson and Hugo Munsterberg, film offered a new means of articulating the dynamics of the mind. In H.D.'s writings from the late 1920s onwards, perception is repeatedly referred to as a quasi-cinematic process. For example, in the short sketch ‘Mira-Mare’ (written in 1930), while a female character is watching a man on a beach, we are told: ‘her narrowed squint widened like a camera shutter’. Sometimes H.D. sets up an opposition between mechanical and organic perception; often she refers to the eyes as if they were unusual lenses registering different dimensions of reality.