The soul of the moving picture (1924)

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The Compass of Poetry 139 But amid the debris there has remained a spirit of daring, a courage that makes an essay at the bold enticing. We experiment in the motion picture, though not so much from a mere love of the novel as from a settled conviction that in this field we still have a great deal to learn; we are still undecided about a great number of things. There is hardly a theme on earth or in the moon with which we have not concerned ourselves; we have conjured the things of the earth and the stars up before the film camera and had them remain there until their pictures were at our disposal. We have descended into the dusty tombs of prehistoric times; we have adapted the stories of foreign countries to the screen. Fairy tales — those of yesterday, to-day, and to-morrow — have been tried. And when, at the close of the War, a sudden flood of ideas, notions, conceits, and Utopias swept over our heads, we even tried to philosophize on the screen. In all of this busy activity, in this feverish and unceasing search after new themes and new values, there has been one thing that we completely forgot; and this one thing has been passing by us in a thousand pictures : it was our own people. Of German films that introduce us to the whirling life of our country, particularly from the rural point of view, we have hardly an indication. A