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 #:
000223
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
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The Path to Art 155 and then in individual places with renewed force, and has a subduing effect on the flow of action. In this way, the moving picture becomes a cheerfully moved and never breathless art. But if the poet throws discipline to the winds and pours out his lyric gentleness over every single scene, his action soon and inevitably sinks into an inert and dripping morass. There is also no such thing as an epic motion picture; just as there is no such thing as an epic stage play. The epic has an action — that is, a general trend and direction of events, but it has no distinct goal. Episode is concatenated with episode like pearls on a string. In the last analysis, however, there is no such thing as pure epic. When Ulysses the great sufferer is driven from shore to shore, there is something more to his case than the mere driving. Back of his fate stands a dramatic question : Will he return to Ithaca? Will Penelope have remained true to him? Will he be able to overcome her wooers? This being the case, the episodes of his unenviable existence are not concatenated without plan; there is no aimlessness about his affair. The incidents of his life are joined together into a complete circle; they end with dramatic necessity, not with epic arbitrariness. The epic of the Nibelungs is dramatic to the core.