Exhibitors Herald and Moving Picture World (Oct-Dec 1928)

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14 BETTER THEATRES SECTION OF October 27, 1928 MODERNISTIC ART Its Significance to America and the Photoplay A growing number of interior decorators, architects and other designers are applying themselves to the development of modernistic art. They are using the materials which this industrio-scientific age has developed, and fashioning them in the manner expressive of the spirit of this age, of which America itself is a most eminent expression — and of which the photoplay is the dominant artform. Is this good logic? And has it meaning for the photoplay theatre designer? By GEORGE SCHUTZ THE changes now being wrought in America by our original workers in architecture and decoration cannot be logically neglected by the designers of motion picture theatres. Modernistic art is too deeply and widely interpretative of the new ways and new values characteristic of our time. And the photoplay is today's own art-form. Motion pictures are themselves modernistic. They are the product of the mechanical invention which has made life what it is today. They are seen — and heard! — by the grace of The Machine. The story they tell is of a life definitely transformed from the old by mechanization — by mechanization in all the vast physical and the infinite psychological meanings of the word. * * * This is true of the world, but particularly true is it of America. The greatest contribution made by the United States to the culture of other countries has been in the field of mechanical invention. Here almost at once we have had something to offer — much, in fact. Modern agriculture, factory methods, business efficiency in other countries are in a large part indebted to American genius. In return (for, of course, we should not try to make Europe seem to owe us more than she does) our culture has mainly relied for its spiritual growth on the poets, the novelists, the musicians and painters and metaphysicians of other lands. America's spiritual borrowings, however,, arc diminishing. Certainly we are no longer dependent upon Europe. One hears the phrase, "America has come of age." Whether it has, is merely an interesting topic for debate, the important question just now being: Does America show signs of developing an artistic appreciation of its own peculiar self' That is to ask, do we live in one manner and interpret ourselves as living in another? It is a question of sincerity, of Truth, and that is a fundamental test of Art. And the answer is that America does show these signs, as proved by the presence of George Gershwin, in music; of Carl Sandburg, in poetry; oi Theodore Dreiser, among novelists; of George Bellows, in painting; and more in these and still other fields. This American self seems to be predomi nantly of the stuff which has given rise to modernistic art. Our immense contribution to the universal character of this age, mechanization, has been alluded to. And nowhere else, it may safely be said, does the majority of the people live so fundamentally and intimately according to this mechanization. This influence, moreover, is allowed far more freedom in molding a new psychology than is granted similar influences in most other countries. We have no classical tradition native to our soil. Our growth toward spiritual independence has been contemporary with the development of these physical things which are peculiar to our time. America's tradition is in the making. It must be, as true Art demands, a translation into terms of Beauty of the things that go to make up our own modern life. For the most part, of course, we still Art Objects in Koycr PARADISE, Chicauo John Ebenon, Architect live in one way and interpret ourselves artistically as living in another. Our architects yet motor to their skyscraper offices and create motion picture theatres out of the manners and ideas of medieval Spain! We remain generally repressed by our borrowed aestheticism. But the very fact that we have a few artists who, going to their skyscraper offices, dream of an American art that is of and for America today, signifies that we are beginning to throw off traditions that have lost their application to us. It is only a question of time when the prevailing type of motion picture theatre will be generally judged "old-fashioned." Southern California, New Mexico, or parts of Florida may be allowed their structures of Spanish motifs. But only then if the manner of life there remains of its historical character. In the main the theatre intended for today's dramatic medium, must be American and modern in motif, in order to merit the praise of discriminating people. "But are the people — the vast majority — discriminating5" The question is placed in quotation marks to indicate that it may come from showmen who still believe that artistic appreciation in this country is yet in a low state. But is it? The previous reference to certain representatives of America's independent progress in art, could be repeated here in reply. In addition it may be pointed out that book >aUs, according to publishers, have grown higher among the obviously better classes of works, until now the trashier volumes arc practically excluded from the monthly lists of "best-sellers." No longer are art galleries restricted to New York and Chicago. Symphony orchestras are everywhere. Even San Francisco and other cities far under a million in population, regularly have opera, And the college graduate is becoming the rule rather than the exception. America may not yet have "come of age." lit scholars debate that question. But America has already begun to discern what is fine, what is crude, what is true and what is false, while, by the very processes of nature, it cannot help but react more deeply (Continued on f>noe 38)