The art of sound pictures (1930)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




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.

FEELINGS AND EMOTIONS 137 trol the primitively strong ones, the gross expression of these strong emotions becomes restrained and partially suppressed. Furthermore, the more intellectual a charac- ter is, the more his emotions will be checked and brought under voluntary control. Intellectual development always tends to inhibit emotion or to control its bodily expres- sion. When emotions are thus controlled, they express themselves in finer or more subtle bodily changes. The writer should bear in mind, therefore, that he has at his literary command a tremendous range of expression for every emotion, with excessive or gross bodily action at one extreme, and subtle, or almost imperceptible, ex- pression at the other. These extremes have been used effectively on both screen and stage. Eva Tanguay and A1 Jolson express love emotions, comic dominance, and many other appealing emotional states by extreme and violent bodily action. In singing his ‘‘mammy” songs, as well as in putting over slapstick comedy bits, Jolson moves every muscle of his body so violently and so tensely that the effect on his audiences is irresistible. They feel that the man is projecting tre- mendous emotional energy directly into the eyes and heart of every individual in the audience. This is close to the extreme of gross bodily emotional expression. On the other hand, screen actors such as Rudolph Valentino and Greta Garbo express their emotions with extreme self-restraint and great subtlety. Valentino, in his role of sheik or Latin lover, would sit nonchalantly slouched in a chair while girls threw themselves and their passion at his feet in wild, exotic dance movements. The great lover scarcely flicked an eyelash in response. Then, with a slight sideways nod of his head, or perhaps a tiny