The photoplay; a psychological study (1916)

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THE DEMANDS OF THE PHOTOPLAY better. It is true tliat in the superficial litera- ture written for tlie hour the demarcation line between dramatic and narrative works is often ignored. The best sellers of the novel counter are often warmed over iuto success- ful theater plays, and no society play with a long run on Broadway escapes its transfor- mation into a serial novel for the newspapers. But where literature is at its height, the deep difference can be felt distinctly. The epic art, including the novel, traces the experi- ences and the development of a character, while the drama is dependent upon the con- flict of character. Mere adventures of a per- sonality are never sufficient for a good drama and are not less unsatisfactory for the plot of a photoplay. In the novel the opposing char- acters are only a part of the social back- ground which is needed to show the life story of the hero or heroine. They have not the independent significance which is essential for the dramatic conflict. The novel on the screen, if it is a true novel and not the novel- istic rendering of what is really a dramatic plot, must be lifeless and uninspiring. But on the other hand the photoplay much more than the drama emphasizes the background 197