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14 CINEMATOGRAPHIC ANNUAL
poetry, painting, sculpture, music or the drama, it can partake something of the special properties of these arts and combine them into a unified whole.
The motion picture, an art of time and space, is capable of giving form to all ideas, practical and emotional. It can express life in every one of its aspects. No one knows how far it will go; its only limitation being that of human ingenuity. Unfortunately, in an art so new and complex as this, an art in which mechanical, electrical and optical improvements are being effected daily, there is, naturally, a certain amount of bewilderment as to what constitutes the best usage of this new and ever changing instrument.
Science creates the tools of expression. The artist must learn to use them intelligently, generally a long, slow process with the end, perfection, never quite reached.
The motion picture which tells a story is essentially a work of art. It may be a bad or trivial example of art, a clever or great one, but will always be to some degree a work of art.
What then, constitutes a v/ork of art? How may it be distinguished from examples of mere manual dexterity, from products of science or industry? Art is both a thing and a way. One reason for the lack of clarity and completeness of so many definitions of art by writers on the subject, is that they attempt to define art as one thing, when it is in reality two.
From the hundreds of definitions advanced by man during the past twenty-five centuries we will select a few which we feel are as satisfying and pertinent as they are simple and true.
Lord Leighton, the British painter, said "Art is based on the desire to express, and the power to kindle in others, emotions astir in the artist and latent in those to whom he addresses himself."
Eugene Veron in his "Aesthetics" gives this definition: "Art is the manifestation of emotion, outwardly translated either by a combination of lines, forms or colors, or by a series of gestures, sounds or words, subjected to certain rhythms."
From these definitions we see that emotion is the basis of art, but not the whole of it. Art is also a way, a manner of expression, and the quality of this expression serves as a measure of art.
A complete work of art consists first, in the feeling of certain emotions; second, in "the expression of these emotions by lines, forms, colors, gestures, sounds or words, subjected to certain rhythms or measures, so organized that others to whom these emotions are addressed will be stirred by what they see or hear and experience the same emotions.
Unless we are at first emotioned, or stirred by certain scenes or situations, we will never have the power to move others by a representation of these scenes or situations, regardless of our manner of presentation, our knowledge of art, stage-craft, story construction, etc. We may excite a certain admiration by our technical skill, but we will never make a deep impression, because we felt none.
Contrawise, to fully express your emotions you must have certain experience in the practice and knowledge of the laws of your art;