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.

THE PHOTOPLAY every idea, so the photoplay must bring ac- tion and pictorial expression into perfect har- mony. But this demand repeats itself in every single picture. We take it for granted that the painter balances perfectly the forms in his painting, groups them so that an inter- nal symmetry can be felt and that the lines and curves and colors blend into a unity. Every single picture of the sixteen thousand which are shown to us in one reel ought to be treated with this respect of the pictorial artist for the unity of the forms. The photoplay shows us a significant con- flict of h%i/man actions in moving pictures which, freed from the physical forms of space, time, and causalAty, are adjusted io the free play of our mental experiences and which reach complete isolation from the prac- tical world through the perfect unity of plot and pictorial appearance.