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CINEMATIC TELEOLOGY
Lewis W. Physioc
IN studying the ethical achievements of mankind, we are impressed with the facts that there are a number of elements underlying the motives which suggest that there is a certain nobility of thought represented in each design. These achievements, originally, embody a desire for personal enjoyment of life and the betterment of living conditions. It is primarily an inherent desire for self-culture. During such a process, the powers of observation develop, new forms of beauty unfold themselves, every experience excites a new flow of imagination, philosophizing succeeds passive thinking and happiness passes from the narrow bounds of the purely physical into illimitable realms of mental joys. As new truths are revealed, new beauties beheld, new experiences enjoyed, there comes a mental exaltation that expresses itself in a desire to share this happiness with the rest of mankind and to create an intellectual companionship, which is, perhaps, the consummation of earthly happiness. There is an undeniable ecstasy in producing something that adds to the happiness of others, and of exciting a kindred spirit by so doing.
It is such noble impulses that direct the artist. We should not, at this time, confound such beautiful sentiments with the idea of commercialism. Remuneration is merely the modern equivalent of the ancient custom of patronage, and pensioning of artists. In the modern vernacular, we say that the artist must live, and modern civilization provides that he cannot without the commercial idea of remuneration. As "the pursuit of happiness" is the only excuse for living, this very happiness is the foundation of commercialism. In modern civilization, we must buy our happiness. In such a scheme, the artist occupies a peculiar position in offering his wares, because he contributes to that department of human happiness that influences ethical and cultural development of mankind. We can conceive of no greater responsibility that a member of society can assume.
These achievements may represent the purely cultural or spiritual development or the more simple ideas of mere entertainment, which are not to be lightly considered, for recreation, relaxation, alleviation are important elements in the search for happiness. Now when a work embodies all of these elements, it is supposed to be the ultimate of artistic expression. This ambition was ideally exemplified in the early stages of literature, music, painting, and even the drama, where there was an effort to engage the attention by entertainment values and insinuate moral, spiritual, and cultural influences as a subtle accompaniment of the entertainment. There were writers who regarded the writing of a book as a grave responsibility, and considered none worthwhile that did not combine the more lasting influences
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