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.
Certain Limitations of the Movie 215 being hurried along, and is not being owed to dwell sufficiently upon the ene. Mechanical defects, to be rec- ited gradually, may explain the jerki- ss; but the too hasty movement of ] action is a question of art, and a irn reform is needed here. There is ten an effect at present as if there ire so much material to be shown in given time that hurry were neces- ry; and of course this fault is part the bad technique. The plain truth is, in the present ige of the movie art we do not get ays in picture form so much as talk th pictorial assistance. The play plot is about all there, sans pic- res. The pictures are a sort of mar- nal comment on the text. It is idle to 11 it the "silent drama" (or, as the ag puts it, the unspeakable drama!) itil language is eliminated. There ill not be a truly artistic motion pic- ire until every word on the screen is it out. If this is to become a really tw art, the pictures must carry the ory, without assistance. For another point, the movie has ien fearfully handicapped so far by ie atrociously inexpert handling of le technique of this peculiar new 3rm of story telling. Muddier, sil- er, stupider construction was never ten. Tyros and Cheap-Johns have one the work, and only later, under ie goad of the financial slump, have lose in the business begun to secure i-ue artists of the legitimate drama, iducing them by handsome pay to *arn this other technique and put their talents on the problem. Doubt- less from this time on, things will grow better for this reason—and Heaven knows such first aid was needed! The gains hitherto have been all on the side of the scenic; there, genuine triumphs have been won; but dramaturgy has in truth sadly lan- guished. To tell a story through a film makes a difficult new demand, worthy the serious effort of first-class artists in the theatre. I heard Sir Gilbert Parker say that after a year and a half in California, studying the movie, he felt he had much yet to learn and recognized the difficulty of this so different form of dramatic expression. It is comforting to hear a real man of letters speak thus, and to know that his services have been enlisted. But the theory seems to have been that after big money had been ex- pended on the pictorial, anybody could shape up the yarn for popular con- sumption. The stories have suffered; so has the public. Now the managers are having their share in the suffering as well, in the form of empty seats. This leads me to another thing which in my judgment has held back the development of the motion picture. The audience aimed at has been as- sumed to be so primitive that baby food has been the main fare given it. If ever an art talked down to those addressed, here it is! One manager declared in an interview that he calcu- lated on a degree of intelligence on a plane with that of the South Sea