The photoplay; a psychological study (1916)

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THE PHOTOPLAY texts, the so-called "leaders," liad to hint at that which in the real drama the speeches of the actors explain and elaborate. It was thus surely only the shadow of a true theater, dif- ferent not only as a photograph is compared with a painting, but different as a photograph is compared with the original man. And yet, however meager and shadowlike the moving picture play appeared compared with the per- formance of living actors, the advantage of the cheap multiplication was so great that the ambition of the producers was natural, to go forward from the little playlets to great dramas which held the attention for hours. The kinematographic theater soon had its Shakespeare repertoire; Ibsen has been played and the dramatized novels on the screen became legion. Victor Hugo and Dickens scored new triumphs. In a few years the way from the silly trite practical joke to Hamlet and Peer Gynt was covered with such thoroughness that the possibility of giving a photographic rendering of any thinkable theater performance was proven for all time. But while this movement to reproduce stage performances went on, elements were superadded which the technique of the camera 30