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SCREEN RENAISSANCE THROUGH MOTION PAINTING
HEN the young energy of the next generation takes hold of motion painting in connection with screen production, it is safe to prophesy that undreamed-of splendor and poignancy of utterance shall characterize their creations and make the machine-made "movie" of the past seem pathetically laughable.
The artist's paint brush can catch the dreams of poetic madmen who sing of the Land of Heart's Desire. And the .screen shall be the magic carpet to lift us out of the sordidness of material existence and help us to refresh our souls for an hour or two, wandering in the Elysian Fields of some future producer's great masterpiece.
1 am not speaking of the far future, but of the pictures that shall be released within the next five or six years. For the screen is the greatest medium of artistic expression ever invented by the mind of mankind. Pictorial symphonies are possible, wherein a series of pictures, instead of notes, shall constitute pictorial melodies and themes, thereby giving human beings a new thrill in the universal language of the screen.
To genius of any kind, the new screen reveals limitless possibilities. It is the ship in which the inspired creator may embark to discover new continents of dramatic art and worlds bounded only by the reach of his own imagination.
Whereas, in the past, motion pictures have repelled the best actors and writers and artists and musicians, the new art of the screen will fascinate the future Booths and lrvings, the future Shakespeares and
A fragment of a ,set is built to duplicate the portion of painting cut away and on this small v/cii/i' the action takes place
[bsens, the future Wagners and Tschaikowskys and Debussys, the future Michael Angelos and Whistlecs.
And great, new epics shall be inspired by the world-wide popularity of the silver sheet and be made into pictures instead of words.
Likewise, the immemorial classics, such as the undying story of Helen of Troy and the story of Ulysses and Penelope, and the .Eneid shall suddenly become wonderful screen material.
The well-known operas offer priceless themes for the new screen art, such as the "Nibelungen Leid," "Parsifal" and "Tristram and Isolde" or "Tannhauser" or "The Flying Dutchman" or "Lohengrin."
Shakespeare's technique is nearer the screen than the modern stage, and his poetry and philosophy can be rendered pictorially and his popularity greatly increased with the masses by the use of motion painting.
But motion painting requires scholarship and organization and story construction and artistic taste far more than with the older methods of motion -picture making.
The chief significance of introducing living actors into easel-painted sets and scenes, instead of into built sets and natural scenes, lies in the fact that motion painting makes possible many new types of photodramas.
Every reader who is acquainted with Edgar Allan Poe's "Fall of the House of Usher" creates in his mind a ghostly picture
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