The photoplay; a psychological study (1916)

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.

INNER DEVELOPMENT OF PICTURES of theory and of practice, to examine the es- thetic conditions which would give independ- ent rights to the new art? If this is really the situation, it must be a truly fascinating problem, as it would give the chance to watch the art in its first unfolding. A new esthetic cocoon is broken; where will the butterfly's wings carry him? We have at last reached the real problem of this little book. We want to study the right of the photoplay, hitherto ignored by esthetics, to be classed as an art in itself un- der entirely new mental life conditions. What we need for this study is evidently, first, an insight into the means by which the moving pictures impress us and appeal to us. Not the physical means and technical devices are in question, but the mental means. What psychological factors are involved when we watch the happenings on the screen? But secondly, we must ask what characterizes the independence of an art, what constitutes the conditions under which the works of a special art stand. The first inquiry is psychological, the second esthetic; the two belong intimately together. Hence we turn first to the psycho- logical aspect of the moving pictures and later to the artistic one. 39