The soul of the moving picture (1924)

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164 The Soul of the Moving Picture From such glowing action as is incorporated in Madame Recamler} or The Orphan, or Honour Thy Mother/ or the Nlbelungs, there is out one moral to be drawn, and that is the moral of the feeling that is as strong as the greatest organ of the greatest cathedral and as impressive. From such motion pictures it is quite impossible to concoct a purely intellectual extract. But it may be that the moral of the great soul represents and signifies the highest morality of all art, and that any other or further symbolism is nothing more than a mantle that wraps itself about this kernel. Many of our modern and contemporary art critics suffer from an overestimation of the value and significance of thought qua thought. But the rigidly intellectual has just as little to do with real art as has the purely sensual, and it is not until both have been baptised, dipped deep indeed, into the warm depths of feeling that that arises which we call art. And neither the intellectual nor the sensual can be set up as a standard by which to weigh art and determine its ultimate value. It is the psychic power of expression that passes enduring judgment on the creations of the artist. Is there not something in music that concerns us all, that is a symbolic incarnation of our life