The soul of the moving picture (1924)

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.

82 The Soul of the Moving Picture done in the way of an art form that is supposed to follow nature, though it is conceived in error, and though it is a specimen of such nature as we get when it is constructed rather than allowed to grow, and constructed with the inescapable contortions that characterize this type of thing. The unreasoned and unbalanced twisting and the laborious padding of these mountain lines are without a trace of either warmth or truth; they lack inner genuineness. The sunflowers in the foreground at the left are simply idiotic. Illustration No. 4 is a trifle better in the calm flow of its lines. It is astonishingly true to life, though the thought of a castle that has been chiseled from the solid rock does not exactly remind one of home, or if so, it merely emphasizes the saying that there is no place like home. Illustration No. 5 is thoroughly saturated with the romantic clarity of feeling for nature. The reconciliation of the inventive artist with the forms of nature has been perfected; it is complete. There is, moreover, a remarkable freedom of invention coupled with astonishing fidelity to nature. In all of these pictures we recognize an everincreasing moderation, an intimate and sympathetic pressing forward to the forms of reality that are not slavishly copied; they are felt, and that in a vigorous and natural way. Before we