The soul of the moving picture (1924)

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The Soul of the Moving Picture to grow enthusiastic about phantoms or nebulous adventures. Nor is he weighed down with the traditions that reach back through centuries of time and constitute so much impedimenta on the part of European artists. And the Swede is too intimately associated with the mother-earth of his home ever to undertake a flight to the clouds through the medium of the motion picture. But the Swede and the German reached the point where they saw that you have got to speak a language, in the film, which can be understood by men wherever they chance to live. A work, let it be ever so artistic and valuable in itself, which brings economic distress to the film company that produces it, harms indirectly the entire film business as an art. That film artist attains to the complete realization of his desires whose creations put money into the purse of the company; the one who does not do this fails in the end. The task of the film artist is always and ever: To effect a happy union between art and business. Moreover, this union must be brought about in such a way that both — art and business — flourish. The man who cannot do this merely drives the film companies on to the production of cheap and cheapening pictures which draw the masses and pay a reasonable dividend, but nothing more*. For the film companies of this