The soul of the moving picture (1924)

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142 The Soul of the Moving Picture rily; the extreme cost of producing such films has made them prohibitive. Nor is this all : the German has not looked with favor recently on the film that has to do with huge crowds of human beings for spiritual reasons. At present there is decided preference for the film that depicts a strong fervor of some sort; for a film that is impressive from the point of view of individuals; for a film that delineates a logical development of the adventures of the soul. And it must be conceded that the best artists are gradually finding a way by which they can unite delicacy of soul with grace of experience and thereby create what all the world must regard as beauty. For a long while, the German, like the Swede, neglected the real art of decoration and photography. Within recent years, however, our better ateliers have made remarkable progress in this direction. Some of our films that have been created since the making of this progress, such as Suvarin or The Stone Rider need not hesitate to stand comparison with the best of any country. The small film companies have been obliged to close owing to the unprecedented depreciation in German currency. This, however, is not a matter for profound regret, for their quality could never be said to be the outstanding feature of their creations. Nothing but quality can ever