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.
EXPRESSION OF TEE EMOTIONS
119
Ask any of the excellent pen-and-ink artists who contribute to this magazine to draw a picture of a brutal prize-fighter, and they will doubtless show a man with a low brow, thick neck and wide head. Why? Perhaps because we instinctively have come to recognize that type of character as the fighting kind. The bulldog and the lion are noted for their courage, while the deer and the hare, which have narrow heads, do not fight, but rely on their speed of foot to escape
agility and vivaciousness. Lillian Walker excels in light parts, while Edith Storey is best in serious ones. Earle Williams is more serious and intense than is Warren Kerrigan, and Crane Wilbur is more agile than either. The Misses Gish have remarkably expressive faces, altho the play of emotions on their faces is not pronounced. Clara Young uses her facial muscles with telling effect, while Ormi Hawley and Ethel Clayton depend more on gesture, posture
LOUIS R. AIARANO HAS EXCELLENT CONTROL OVER HIS MUSCLES OF EXPRESSION
the enemy. But it must be noted that fighting proclivities are not necessarily dishonorable. It is noble to fight for a noble cause. Colonel Roosevelt is renowned the world over for his fighting ability. And we cannot take only one set of features and make an inflexible rule. We must take all the features. Otherwise we might have to place John Bunny in the list of fighters, and as we all know, he is not the combative kind. The face of Cissy Fitzgerald is remarkably mobile. So is Ford Sterling's. Alice Joyce's face is not. Mabel Normand is noted for her
and actions for expression. Marc MacDermott has a mobile, expressive face which he uses with good judgment.
It is unfortunate that versatility is required of a successful photoplayer. Francis X. Bushman, for example, is required to be a young lover in one play, and a pickpocket in another, and an old shoemaker in another, and so on; and while this is interesting and emphasizes the " acting" abilities, it would be better if all players were more carefully selected for the parts they are to play.
(To be continued)