The soul of the moving picture (1924)

Page scan 000177 from The soul of the moving picture

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 #:
000177
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
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.

The Compass of Poetry 119 flight, and then it will settle down into calm serenity like the subdued tones of so many silvery bells. The motion picture can delineate aristrocratic characters; it can represent men and women of aristocratic souls. But when this is to be done, more must be done than to have the leading man and the leading woman don evening dress. Those who accomplish this — the delineation of fine and fair souls — have to be great artists. Rubbish and art, discord and harmony, the inflated and the sterling, though their spheres are relatively near each other, are nevertheless separated by the wide, wide gulf that separates the dilettant from the genius. Those who are petty in the business can offer us only the empty, the hollow, the fatuous. Abundance they know not; harmony is not a part of them; they deal in deadening boredom. Around about the love of the motion picture is stretched the bright-colored frame of the surrounding world. Its milieu is of diversified hues. It is not possible for even the legitimate stage to renounce entirely the world in which its action takes place — though Romeo and Juliet might be played to an audience recruited wholly from the slums and not lose either its fragrance or its charm. In the motion picture, the nature and