The soul of the moving picture (1924)

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The Setting 83 enter upon the open road of scenery that is faithful to reality, however, we must follow for a season romantic setting by way of familiarizing ourselves with a number of its amiable ramifications. The playing or sportive mind of the artist in pictures roams about and remains resting, in time, toying like a butterfly, on the bizarre forms of the phantastic world. Illustration No. 6, for example, shows us a magic garden in Asia. There is an easy and refreshing humor about it; it is charming as a picture. It has only one fault : it is inappropriate as a bit of decoration for a film. For the film picture passes by in a few seconds, and it is not the business of the decoration to draw attention away from the action. Such complicated pictures, with all their captivating by-products, can be studied in detail and with much thought and consideration, but not in the film — there is no time for them there. All decorative scenery has to be well arranged; it must be lucid, clear, and easy of survey. Illustration No. 7 is confused and hard to read. Moreover, this scenery has nothing to do with the action. No one would ever suspect that this room was occupied by an American millionairess. Let the decoration be as grand and glorious as the human mind can make it, if it is not a frame, or