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The support does not need to warm the spectators to the problem, then talk them into surrender. When the veteran stage-producer as a beginning photoplay producer tries to give us a dialogue in the motion pictures, he makes it so dull no one follows.
So this enterprise, in my fond and fatuous fancy, is associated with the sweet Mae Marsh as The Wild Girl of the Sierras one of the loveliest bits of poetry ever put into screen or fable. For about one year, off and on, I had the honor to be the photoplay critic of The New Republic, this invitation also based on the first edition of this book.
No matter how the characters move about in the photoplay, these pattern shapes should relate to one another in a definite design. The exact tone value of each one and their precise nearness or distance to one another have a deal to do with the final effect.
From here we see the perspective to the fantastic dreams which the camera can fixate. Whenever the theater introduces an imagined setting and the stage clouds sink over the sleeper and the angels fill the stage, the beauty of the verses must excuse the shortcomings of the visual appeal. The photoplay artist can gain his triumphs here. Even the vulgar effects become softened by this setting.
We see an overbearing pompous person who is filled with the emotion of solemnity, and yet he awakens in us the emotion of humor. We answer by our ridicule. We see the scoundrel who in the melodramatic photoplay is filled with fiendish malice, and yet we do not respond by imitating his emotion; we feel moral indignation toward his personality.
That flatness is an objective part of the technical physical arrangements, but not a feature of that which we really see in the performance of the photoplay.
Never have I seen a photoplay that truthfully illustrated northern Canadian life. Next day we again set out on a moose trail, but, as ill luck followed us in the way of a heavy snowstorm, we gave up the chase and continued on our way. It was hard going and we stopped often. Once we halted to rest beside a number of otter tracks. Otters leave a surprisingly big trail for animals of their size.
All countries seem to have been awakened to this social danger. The time when unsavory French comedies poisoned youth lies behind us. A strong reaction has set in and the leading companies among the photoplay producers fight everywhere in the first rank for suppression of the unclean.
It has the mobility of our ideas which are not controlled by the physical necessity of outer events but by the psychological laws for the association of ideas. In our mind past and future become intertwined with the present. The photoplay obeys the laws of the mind rather than those of the outer world.
Now the mechanical or non-human object, beginning with the engine in the second chapter, is apt to be the hero in most any sort of photoplay while the producer remains utterly unconscious of the fact. Why not face this idiosyncrasy of the camera and make the non-human object the hero indeed? Not by filling the story with ropes, buckets, fire-brands, and sticks, but by having these four unique.
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