At the stage of disparity the conflict between abundant and sparse artistic means becomes apparent—and disturbing—to the spectator. This conflict is personified by the protagonist; here is a product of abundant means, a man in realistic human form whose physical needs are like our own, yet whose conduct is a model of sparseness. There is a disparity of artistic means: there are abundant imitative techniques—the protagonist and his surroundings; and there is the cold, sparse stylization which supersedes these techniques. Again, transcendental style uses a minimum of abundant means to sustain a film in which the means are becoming increasingly sparse.

Transcendental style theoretically substitutes sparse means for abundant; just how successful it is in this effort can be determined by the decisive action. It is clearly an abundant means, a dramatic or emotional action which cries out for audience empathy. Yet, if transcendental style is successful, the film will at this late point be so bare, so sparse that an abundant technique will have no context to relate to. In the transformed order of artistic means the empathetic, dramatic device now seems out of place.