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 #:
000145
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:
August 22, 2024
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The Setting 93 the, after all, color-blind eye of the camera. The big, balloon-like costumes of the Renaissance, the Italian as well as the German, make a rather poor picture of unknown colors and indifferent lines. To take a picture of this kind and do it effectively requires an artist who is cautious in his exploitation of all things stylistic, modest in his desire to display his inventive power, and trained in the art school of experience. We may say, in general, that there is no single costume of any age or all ages that is entirely effective on the screen. It is a serious fact that cannot be lost sight of that, in this domain of the moving picture, the effects we so ardently strive after depend not so much on genuineness as on the appearance of genuineness. Take the frontispiece. What a splendid clarity and lucidity of line ! But the costumes of those times were like the ones that constitute the glory of this picture only in general proportions and outlines. And thus it comes about — just as in the most exalted works of art of all ages — that each individual part serves the whole, and there is none of that greediness for isolated triumph that results, if unleashed, in a dazzling and distracting display of the arts of the virtuoso. Our film world is a business affair, but every sane man is willing and eager to let the grand