The soul of the moving picture (1924)

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The Setting 81 same artistic principles as those of Dr. Caligari, but with this dirrerence : they had now become petrified after the fashion of a regular mask. I [>£ the opinion that for an achievement in this field to be of real value, in technique as well as in art, it has got to be taken from life and follow Lifelike lines. For this reason, the possibility oi a fruitful development in this cirecti::; seems rete indeed. This gigantic spring-tide which surged forth with unqualified suddenness from the chaos of film evolution has about ebbed away and bee:: :rbed by a few remarkable decorations. Its ::s are still not bene and there on the er surface: this much must be conceded. But the great storm that reached lown to the depths and brought about a complete revolution and reformatio in the domain oi dim scenery, has never taken place, though it was prophesied cud promised by its leading adherents at the time. Wherever we can still recognize a faint t:ho of it. it baa quieted down into a milder, calmer form whim drst c::uettes with nature and flirts --{:':. lire. only tc income gradually but completely reconciled to them in the end. The tendency ro invention of phentcstic settings was immensely aroused by Dm Callgari. Illustration No. 3. for example, shows what may be