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 #:
000197
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:
December 21, 2023
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 135 to the very point of scantiness. Its tone is that of the folk-song with its tones taken from and based on pictures. Its characters are close to the earth; they are rarely impulsive, and if so, the impulsiveness is of a gentle nature; they seem quite free from self-consciousness. They move their limbs after the fashion of dreamy giants. They play with their hearts somewhat as the children of Asa were wont to play with the golden discs. Their feelings have not been artificially translated into a milieu; they have not been composed into a new home. They grow quite naturally from the soil that begot them. In the case of the American, or the German, film, we have the conflict first; the milieu proceeds then from this conflict. The canon of the Swede reads : In the beginning was the earth. On this soil, excessively aromatic or iridescent fruit does not thrive. The passions of the Swede are subdued; they whisper like waving grain swayed to and fro by a gentle breeze. Because of their lack of display they seem, to the eye and ear of the person accustomed to the bluster of an industrial life, a bit primitive and monotonous. The Swedish film is an seolian harp which is moved unconsciously; the few wonderful tones that lie as potential factors in its strings are melodies only. The reflective element of this film is remarkably