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^Uhe World's headini^ d^yiovin^ ^idiure Qy^a^azine
PHOTOPLAY
Vol. XVIII July, 1920 No. 2
/ ;
The Power of Selection
JF cultured men and women chose hoo\s as they choose photoplays the choicest libraries ivoidd he built on foundations of Bertha M. Clay and ?^ic\ Carter, ivith a sundry assortment of joe Miller s jo\e^boo\ in a variety of bindings.
"Come on — let's go to a picture! " exclaims the head of the family, after dinner.
Just as reasonably he might say "Come on — let's go buy a boo\! " But several centuries have passed since men bought a boo\ just to own a collection of type mar\s on white paper. Excepting the proverbially useless Yule^gift, and the searches of the connoisseur, men go to a boo\store to gratify a specific taste in reading. Ctdture and refinement entered the world of letters only when men had learned the power of selection.
Comparatively spea\ing, there is no such thing in the contemporary observation of motion pictures. This is not surprising. When prinPtype was as young as film is noiv, doubtless many a family was as glad to have "a boo\," regardless of the text, as that family's far-sprung descendants are to see a "picture, ' regardless of Its mal{e or message.
It IS time to quit "going to the picture show." It is time to begin going to particular photoplays, or particular comedies, or particular educationals. Tour exhibitor will ma\e it his business to do one of two things — supply what you II choose, or palm off what you'll accept.
The power of selection, individually exercised, is the only power on eartli that can compel the manufacture of good photoplays. The power of selection should and iinll be the supreme power in motion pictures.