Pictorial beauty on the screen (1923)

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.

CHAPTER VII PICTORIAL MOTIONS AT WORK All the movement which you see on the screen may be enjoyed, we have said, as something which appears beautiful to your eye, regardless of its meaning to your mind. But if that movement, beautiful in itself, also carries to your mind some significance, if it serves the dramatic plot in some positive way, then the picture will be so much the richer. Acting, of course, is visible movement that delineates character and advances plot. It is pictorial motion at work. And acting, curiously enough, is not limited to people and animals. In a sense there may be acting also by things, by wagons or trees or brooks or waves or waterfalls or fountains or flames or smoke or clouds or wind-blown garments. The motions of these things also constitute a kind of work in the service of the photoplay. One might say that the artistic efficiency of a motion picture may be partly tested in the same way as the practical value of a machine. In either case motions are no good unless they help to perform some work. "Lost motions" are a waste, and resisting motions are a hindrance. The best mechanical combination of motions, then, is that which results in the most work with the least expenditure of energy. Doubtless every one will agree with us that if, while 97