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Updated: May 16, 2025
But as we peer into the Mirror Screen some of us dare to look forward to the time when the pouring streets of men will become sacred in each other's eyes, in pictures and in fact. A further discussion of this theme on other planes will be found in the eleventh chapter, entitled "Architecture-in-Motion," and the fifteenth chapter, entitled "The Substitute for the Saloon."
Much of what follows will be to reënforce the heads of these first discourses. Further comment on the Religious Photoplay may be found in the eleventh chapter, entitled "Architecture-in-Motion." The outline is complete. Now to reënforce it. Pictures of Action Intimacy and Splendor are the foundation colors in the photoplay, as red, blue, and yellow are the basis of the rainbow.
He would have a chance to reflect credit on the university even as much as a foot-ball player. Large undertakings might be under way, like those described in the chapter on Architecture-in-Motion. But these would require much more than the ordinary outlay for thesis work, less, perhaps, than is taken for Athletics.
The last is the orthodox mural painter of the world, but the other two will serve the present purpose also. These architectural paintings if they were dramatized, still retaining their powerful lines, would be three exceedingly varied examples of what is meant by architecture-in-motion. The visions that appear to Jeanne d'Arc might be delineated in the mood of some one of these three painters.
To make a more elaborate showing of what is meant by architecture-in-motion, let us progress through the centuries and suppose that the builder has this enthusiasm for France, that he is slowly setting about to build a photoplay around the idea of the Maid. First let him take the mural painting point of view.
The presence of the "Votes for Women" figure is the beginning of a line of photoplay goddesses that serious propaganda in the new medium will make part of the American Spiritual Hierarchy. In the imaginary film of Our Lady Springfield, described in the chapter on Architecture-in-Motion, a kindred divinity is presumed to stand by the side of the statue when it first reaches the earth.
The Action Pictures are sculpture-in-motion, the Intimate Pictures, paintings-in-motion, the Splendor Pictures, many and diverse. It seems far-fetched, perhaps, to complete the analogy and say they are architecture-in-motion; yet, patient reader, unless I am mistaken, that assumption can be given a value in time without straining your imagination.
The most superb example of architecture-in-motion in the commercial history of the films is the march of the moving war-towers against the walls of Babylon in Griffith's Intolerance. But Griffith is the only person so far who has known how to put a fighting soul into a moving tower.
Half-tone effects are, for the most part, eliminated. Line is dominant everywhere. It is the opposite of vast conceptions like Theodora which are architecture-in-motion. All the architecture of the Caligari film seems pasteboard. The whole thing happens in a cabinet. It is the most overwhelming contrast to Griffith's Intolerance that could be in any way imagined.
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