We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
^[ditorial
PROEM.
If " 'tis true that a good play needs no prolog," it is equally true that a good magazine needs no introduction, but perhaps a word of explanation would not be amiss.
The Motion Picture Story Magazine is neither more nor less than it pretends to be. Its purpose is to tell the story of life, past and present, by means of that greatest of mirrors, and the most permanent, — the picture.
The moving pictures are the books of the masses; and, as we say in our graphic slang, they have come to stay. Nothing in ancient or modern times has taken such a hold on the public, and the reason is not hard to find; for does not the moving picture combine all those virtues and characteristics which the people demand for their profit and amusement? Does it not depict The Passing ^how right up to the minute, and reveal human nature and human life as it was, as it is, and as it should be? Does it not supply at once, entertainment, education, culture, and gratification of all the faculties and emotions? Does it not take its lawful place beside its sisters, poetry, drama, literature, painting, sculpture, architecture and music, and form a staff of support for them all?
Some of the famous moving picture plays have been indelibly imprinted on the memory, but we believe that a magazine like this is needed to make more permanent the leading scenes and characters, to serve as a memorial to the artists as well as to the art, and, in general, to add to the budget of human enjoyment — to charm, instruct and entertain.
One advantage of the motion picture over the theatre play is in the variety of the scenery and the facility with which it can be changed. At the theatre we seldom see more than three scenes, and we are obliged to wait several minutes to see even these ; while at the moving picture plays, we may see a hundred in one piece, without losing a minute of our time and without losing a bit of action. Besides this, the limited space on the theatre stage makes elaborate scenery impossible, whereas the picture play often presents real instead of painted scenery.