The soul of the moving picture (1924)

The Scene 47 His gesture is supposed to embrace the content, in the way of feeling, of the entire scene. In this striving, the actor is supported by the peculiarity of the film mechanism, which catches up even the gentlest and most subdued mimicry and holds it up before the spectator. It would be impossible, especially for a northerner, to play an entire mimic action, in all its shades and nuances, at one time or in one concerted effort. This explains why the pantomime could never rise above the level of a rather crude art form. But the film dissects the action, winnows its parts, and allocates them to various places or dramaturgic localities. Everything that happens in the same place is assembled, while the picture is being taken, and made into a united and single play. This is done, of course, for practical reasons associated with costumes, decorations, and travels. This being the case, the actor does, and has to, concentrate his entire attention, for a very short time, a time that is generally measured in seconds, on the mimic material and means that are naturally placed at his disposal. This human weakness — which makes a relatively long and at the same time inspired action impossible — has been made the basis of photographic technique by the American. His reasoning and his technique must be commended. Where