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.
CHAPTER 9
Seeing and Believing
For twenty notoriously profitable years action, per
)nalities and backgrounds supported this billion-dol
.r industry without one word of spoken dialog. But -hat was it that made the silent screen so much more
fective than, for example, the screen's traditional .vals, the stage, fiction and radio?
In a nutshell, word pictures, written or oral, are never juite distinct. Though often enlivened by sketch or photograph, faces and backgrounds in a book quickly recede, fading the moment idea or action is projected.
The stage face, under the most favorable of lighting conditions, is a blurred image to 75 per cent of the audience. Radio faces and backgrounds are merely voices and sound effects, while the camera and projection machine bring people and backgrounds to within ten feet of everybody in the theatre, as close to those in the far reaches of the second and third galleries as those in the orchestra circle.
Granted that people, action, properties and scenery are not real, that everything and everybody on the screen is an illusion, nevertheless that illusion is a close-up, living, ever-present bid for appreciation. In short, if a still picture is worth a thousand words, then a moving picture is worth ten thousand.
However, despite the fact that the camera still dictates what is what on the screen, dialog has its advocates, nor are they few in numbers nor modest in their defense of dialog as an entertainment medium. And so we find production today, a camp divided, rarely agreeing on which can best enhance and enlarge main pursuits, the camera or dialog.
All mediums of expression work under a handicap of remoteness or distance from the actualities and realities they attempt to picture. There is the handicap of the written or spoken word without pictures, the handicap of pictures without movement, the handicap of the moving picture without sound.
Word picture, (oral or written), still picture, movingpicture. That is the order of their ability to visualize a thought, an idea, a desire, a person, action or back
167