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

Page scan 000110 from That marvel - the movie : a glance at its reckless past, its promising present, and its significant future

Record Details:

Title:
That marvel - the movie : a glance at its reckless past, its promising present, and its significant future
Date:
1923
Publisher:
New York : G. P. Putman's Sons
Volume:
That marvel - the movie : a glance at its reckless past, its promising present, and its significant future
Leaf #:
000110
Language:
English
Collection:
Books
Format:
Books
Contributor:
Media History Digital Library
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
September 05, 2024
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.

96 THAT MARVEL— THE MOVIE or realistic novel but he must remain wide awake when he is writing scenarios for the screen. Scott, Bulwer-Lytton, Charles Read, Dumas, Victor Hugo, Thackeray may "get away," to use a slang phrase, with a lapse of memory, an injected anachronism, even the reintroduction of a character who has been killed off in an earlier chapter. The impressive flow of their narrative, their charm of style, and the tendency of a reader to forget minor details in what he has already read of a tale, have enabled the great story-tellers to commit strange, almost unbelievable, blunders in the unfolding of their narratives without seriously marring the value of their work. But when a tale-teller is employing the movie screen he can not afford to take liberties with the basic proposition that seeing is not believing unless there is the logic of the Inevitable in the sequence of the events portrayed. The above is asserted under a full realization of the fact that for years the story-telling films tried to the breaking-point the patience of their more enlightened supporters by frequently sacrificing the Inevitable to the Expedient, allowing the logic of events to go to the bow-wows because a reel must be cut, or a movie star exploited, or a scene over-emphasized for the sake of its advertising value. Lincoln asserted that you can't fool all the people all the time, but