Motion Picture Story Magazine (Feb-Jul 1911)

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92 THE MOTION PICTURE STORY MAGAZINE the hall. She was so like her picture that some said that Camilla must have had a sister who had come to take her place; but others called her a cousin, and still others thought her some woman from a foreign clime whose marvelous likeness to Lionel's dead bride had led Julian to bring her to his home. Questions came thick and fast, but Camilla made no reply, and when they asked her if she was dumb, it was Julian who answered for her. "She is dumb because she stands, like that poor slave of whom we lately spoke, obedient to the master, who, by your own decree, has every right. Now shall I excel the Persian, for I give, to my beloved guest, that which I hold most dear!" Simply he told the story of his love for the foster sister that 'had shared his childhood days, told of the vision of the bells that had rang, first marriage, then death, and then joy again. Told of her trance, of his visit to the vault, of her return to life, the birth of her young son, and, then, rising, led to Lionel the bride he thought was dead. And with the climax of the Golden Feast, Julian turned from the hall, with but a single friend, and then left the country, that he might not see the happiness he had so generously given back to his friend. The Picture Play as an Educator Bv Ada L. Barrett There is no doubt that the picture play has come to stay, and that it is destined to be one of the most potent factors in education. The stereopticon has long enjoyed the favor of both church and school, and the moving picture, its worthy successor, is peculiarly fitted to further the work of education in the simplest possible way. A picture speaks to all; it is a language understood by all; it requires no spoken or written words to be understood. Why is it that the moving picture shows are frequented by hundreds and thousands of persons of all ranks — the well educated as well as the most ignorant? Because, in the first place, the picture attracts the eye, and, by a quick succession of motions in that picture, the story is told. No words are needed; the story speaks for itself to everybody in the audience, whether they speak the language of the country or not. A child is like a foreigner ; he has to learn the history of his own country, and that of others. He will pore over a history of the United States for a year, and by the end of that time he will have a confused knowledge of events jumbled together with dates which he only half remembers; but send him to a motion play illustrating that history, and he will come home impressed with what he has seen, and he will remember it. It is then he will be willing to go to dry history and study for himself. And why? Because he has an incentive to do so. The stirring scenes have been portrayed before him, and when he reads or studies that history, his mind's eye will see each scene vividly. The motion play, therefore, will not only prove a help to educators in fixing certain facts on the minds of their audience, but will also serve as a stimulant to further exertion, which would be entirely lacking otherwise. All children like pictures. Any child will pick up an illustrated book of study sooner than an unillustrated one, and that is why there is such a demand for illustrated books for children.