That marvel - the movie : a glance at its reckless past, its promising present, and its significant future (1923)

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 mhdl@commarts.wisc.edu 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.

24 THAT MARVEL—THE MOVIE America, there are perhaps fifteen thousand motion picture theatres and in those theatres more than seven million seats. Taking into account at least two performances a day, and applying the collected statistics, we estimate that every seven days between Maine and California, fifty million men, women and children look for an hour or two at the motion picture screen. Nothing further need be said in regard to the importance of the general subject we have under consideration. A medium for expression which makes its imprint weekly upon the minds of approximately one half of our population is worthy of the closest study by the people of this country. Its origin, its early growth, its present status and its future as a universal language, destined, perhaps, to be the greatest civilizing medium the race has known, are topics the timely importance of which can hardly be over-rated. To paraphrase an old political truism, as goes the screen so goes the country — and, possibly, the race at large. Briefly the early history of the cinematograph is in substance as follows: By the revolutionary achievement of the Frenchman Daguerre, who discovered a method whereby sunlight could be made to fix a permanent image of an object upon a sensitized surface, a door was opened showing the way to the marvellous triumphs that the last century has vouchsafed to the camera. But impasse after