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 #:
000231
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 161 picture degenerates into art, not for the masses, but for the rabble, in whom the basest of instincts are satisfied in the basest way. The suspense of the motion picture does not wait for words, but for deeds. It depends upon changes that must come about and definitive results that must be achieved. And when such deeds are conditions upon the soul's being shaken to its very depths, and when the outcome and goal are fixed by the feelings, then such suspense as the motion picture may properly indulge in has been achieved, and achieved in accordance with the laws of motion picture art. For that species of suspense which proceeds from soul to soul quite without visible effect can hardly be attained by the motion picture. And yet, the tonic power, the ability of the spectator to undergo suspense, and to feel it, can hardly be overestimated. We have already become quite familiar with the mimic situation; we are now able to see and feel in the slightest movement the condition of the actor's wishes. He lifts an eye, and we know what he wants. In the Bull of Olivera, Jannings played the role of a French general who deserts his passionately loved Spanish friend. He stands by the door with his hand already on the knob. His back is turned to the spectator; we can see his body quiver: "Shall