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30 CINEMATOGRAPHIC ANNUAL
too violently, as in sudden dropping for instance, an emotion of fear may be produced. Motion, as we see, can be a source of pleasure and also of pain.
With the growth of the child its interest in motion increases. The perambulator, the wooden horse, the seesaw, the swing, the merrygo-round, etc., provide a large variety of motions. These motions have the power to quicken the feeling of life, to produce exhilaration and provide entertainment.
And we never outgrow our infantile interest in motion. From the cradle in childhood to the rocking chair in old age we find in dancing, sports and travel a variety of bodily and visual motions invigorating, entertaining and soothing.
Amusement places thrive on motion. Advertisers use it to attract buyers: barber-poles gyrate, windmills revolve and electric signs do a dervish dance every night.
Modern psychology teaches that our primitive emotions can be sublimated and our reflexes conditioned. In other words, and in the present case, we may create pleasure and entertainment by suggested motions. By merely seeing motion on the screen our minds, conscious or subconscious, may be made to react in a similar manner as in active participation.
III.
IF WE approach the subject from a more aesthetic and philosophical angle we may find arguments which speak in favor of the motion picture as a new form of art.
The existing arts are divided in two groups: one static and spatial, comprising architecture, sculpture and painting with their subdivisions; and one dynamic and temporal: music, poetry and drama.
The motion picture is both, spatial like painting and temporal — dynamic like music.
This double characteristic harmonizes with the modern scientific concept of Space — Time. It is within the power of the cinema to create its own space and time. It can tie fragments of several different objects, situated in distant points of space, into one organic unity; it can stretch one tragic moment into unbearable suspense. This ability of the motion picture to recreate, expand, contract and transform space and time to its own purposes makes it very much in keeping with the theory of Relativity.
The aesthetic terminology, whenever it -attempts to speak of vital values of any work of art, is compelled to use words which are really descriptive of the qualities of motion. In such static arts as sculpture and painting we look for the "flow" of lines, "rhythmical" arrangement of forms, "movement" in composition, etc. In music we find tempo, beat, rhythmical pattern, movement, etc. All these concepts are intrinsic attributes of actual motion. With the motion picture camera at our command we can now have all these not only figuratively but literally. The power of the cinema to embody the principles of rhythm makes it a truly dynamic form of art. And