The soul of the moving picture (1924)

Record Details:

Title:
The soul of the moving picture
Date:
1924
Publisher:
New York : E. P. Dutton & Company
Volume:
The soul of the moving picture
Leaf #:
00055
Language:
English
Collection:
Books
Format:
Books
Contributor:
Niles Essanay Silent Film Museum
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
December 21, 2023
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.

Texts 21 had been elevated to the rank of a unique art form by a great artist long before the moving picture began its ascendent course. I mean, Wilhelm Busch, with his pictures and verses. In our soul, Busch's contrasts are dissolved and intertwined; they constitute an organic unity; they are a spiritual entity. Esthetic categorizing has consequently been secured, in turn, and that to the salvation of art. The discovery of the practical, artistic relations that picture and text should bear to each other have, unfortunately, not been made essentially easier thereby. There can be no doubt but that different peoples feel quite differently on this point. The Italian — Gabriel d'Annunzio, for example, in his Cabiria — inserts sentences of a length, effusiveness, and fustian which are just as intolerable to the artsense of a German as are the swollen and pathetic stage notes of his regular dramas. Are we to conclude from this that we Germans are cooler, calmer, soberer, and less buoyant than the children of sunny Italy? Or are we to conclude that our feelings are safer guides in matters of art than those of the Italians because we believe that the true significance of the moving picture is to be sought in the picture and not in the text? For it seems to us like an artistic contradiction,