Talking pictures : how they are made, how to appreciate them (c. 1937)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to with your comments.

We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

Talking Pictures dreds of great authors who have contributed to the screen. It is evident that the screen has taken adequate advantage of its ability to draw from the novel, the play, and the short story. From Shakespeare to Marc Con- nelly, from Dickens to Clarence Budington Kelland, from classical writers to the contemporary, the screen in its resort to the finest writers has shown evidence of an approach to literary maturity. The studios are to be commended, for they have not been provincial or narrow in their story search. They have taken prodigally from the greatest literature of all the world and of all time. Stories from Germany, from France, from England, sent out to the enormous audi- ence of the screen, greater than that of any other art, have emphasized that all great art is not national but international. Partially because it is easier to pay a few dimes to see a motion picture than it is to pick up and read a heavy book, thousands upon thousands of people are, through motion pictures, being introduced to fine lit- erature for the first time. Many of those who went to see the picture, Anna Karenina, did so because they were attracted by the name of Garbo over the entrance. But once in the theatre they discovered Tolstoy. Between the time that the picture production of David Copperfield was announced and the period of its exhibition, the public library of Cleveland was forced to buy seventy-four additional copies of the book. The school librarian of a large city system reported that he added four hundred copies of the work to his school collections during the same period. [ 4 6 ]