The soul of the moving picture (1924)

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140 The Soul of the Moving Picture real beginning in this direction certainly has not been made. It is there, however, and there only where uniqueness of real character is conspicuous that one finds the type of originality that pleases in itself and defies competition of any kind. At present, forces are beginning to work, action has been begun which, if carried on and out, will project on the screen the land of Germany with all the beauty of its streams and forests, and which will show the German soul with all its dreams and wishes. This is the way the film entitled Explosion, which tells of miners and their lives, came into existence. This was the initial inspiration of Fritz Lang's Nibelungs, that grandiose epic of the remote Germanic past. These are to be sure beginnings; but so long as they remain the sole examples, so long as the status quo in this matter is preserved, we Germans simply do not exist in the film; we have not yet arrived. And be it said once for all that the popular film is the one in which a film people can best show its real character. Instead of studying this theme — our own people— and exploiting it day in and day out, the German has scoured the whole world for themes. His historical films have been prepared with marvelous accuracy; not a detail has been neglected which might add in even the slightest way to his