Censored : the private life of the movie (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.

PRIVATE LIFE OF THE MOVIE ing the movie factory. If that factory was unrelated to politics, war, or even news, we could dismiss the cloud and say "it is not important." But the foremen of that factory have brothers and cousins in charge of machinery that runs our modern world. We cannot indict this group of men personally. If they were ghouls, train robbers, cannibals— then we could dramatize them, and dismiss their machine. But they are not sheer black. They are merely control-men; sublimating their personalities to run machines fed by a public with which they have no contact, and about which they know but little. The movie is one of the biggest engines. They are using it to run things once considered individual property. The Talkies You may curse the groanings of the talkies or you may consider them the advent of an art as potential as Gutenberg's awkward press. Whatever the opinion of the public the producers regard them as movies. They have not 178