Proust, Joyce, or Eliot, this form of sequence permits the reader 
an extraordinary identification with personalities of the utmost 
range and diversity. The stream of consciousness is really 
managed by the transfer of film technique to the printed page, 
where, in a deep sense it really originated; for as we have seen, 
the Gutenberg technology of movable types is quite 
indispensable to any industrial or film process. As much as the 
infinitesimal calculus that pretends  to deal with motion and 
change by minute fragmentation, the film does  so by making 
motion and change into a series of static shots. Print does 
likewise while pretending to deal with the whole mind in action. 
Yet film and the stream of consciousness alike seemed to 
provide a deeply desired release from the mechanical world of 
increasing standardization and uniformity. Nobody ever felt 
oppressed by the monotony or uniformity of the Chaplin ballet 
or by the monotonous, uniform musings of his literary twin,