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THE ART OF SOUND PICTURES
lively than he destroys the happiness or well-being of the person whom he hates. Hatred is a two-edged emotional sword, cutting both the hater and the hated. It is responsible for the most cruel and destructive of wars. It disrupts families, communities, and nations. Civil war is notoriously more bitter than war between foreign nations because of the greater friendship or mutual submission which existed between the two parts of the same country before the beginning of war. The greater the love, affection, or friendship preceding the hate, the more violent and destructive will be the subsequent hatred, because of the more violent conflict between captivation, or love, and the destructive dominance in control.
Hatred has two possible uses in screen stories. It may be used as a contrast emotion, depicted as the driving force behind the action of the villain, or in any other contrast to the pleasant, constructive emotions of love and friendship. Secondly, it is frequently effective to show character development wherein initial hatred is overcome by love and generosity. The hero may bitterly hate the slayer of his father, for example, or the supposed betrayer of his sweetheart. Yet, when the man whom he hates is finally brought within his power, his native generosity which, psychologically speaking, springs from his love emotions, proves greater than his hatred, and he saves the life of his enemy.
Such a moral victory of love over hate, or love over dominance, alwa}^ holds a sure-fire appeal to the screen audience. Human beings are essentially moral and creative, and audiences involuntarily rejoice in the overcoming of any base emotion by love. This inspires a deepseated respect for the high character development of the