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Updated: June 25, 2025
And the great weapon of the art museums of all the land should be the hieroglyphic of the future, the truly artistic photoplay. And now for book two, at length. It is a detailed analysis of the films, first proclaimed in 1915, and never challenged or overthrown, and, for the most part, accepted intact by the photoplay people, and the critics and the theorists, as well.
"What's he got in the black bag, Pet?" demanded one of the others. "Don't know, but we'll soon find out," grunted the leader of the group, looking around for a place to lay the camera down while he applied himself to the task of opening the tied-up package. "I bet it's films he's used; I know, because I got a bull's-eye camera to home," exclaimed another chap, pressing forward eagerly.
But Nan had not identified this woman with the great actress-director, whose films were being talked of from ocean to ocean. "Come, my dear," she said. "We can find a quieter place to talk, I know. And I do wish to know you better." Whether it were unwise or not, Nan Sherwood found it impossible to refuse the request of so beautiful a woman.
"His company is in bad shape," said Mr. Pertell. "They have been losing money, and their films are not taking well. They have not much of a company of players, and I suppose they think they can use some of our ideas, and maybe some of our actors and actresses." "How do you mean by hiring them away from you?" asked Russ.
Through censorship bureaus, national and municipal, the character of the films put on exhibition is being greatly improved, and the moving picture is destined to a large use by educational and religious agencies. Properly regulated, it is an offset to the saloon and a positive medium of good influence.
Unfortunately, however, it is equally easy to prepare children for an examination of this, the normal type. As children have receptive memories, it is easy for the teacher to lay films of information on the surface of their minds.
Above, the brook becomes a smooth black canal between two steep white banks; and the glassy water seems momentarily stiffening into the solider blackness of ice. Here and there thin films are already formed over it, and are being constantly broken apart by the treacherous current; a flake a foot square is jerked away and goes sliding beneath the slight transparent surface till it reappears below.
He was so merry that Calliope and I, by a nod or a smile of understanding, played our rôle of merely, so to say, proving that the films were right for you may have an inspired conversational photographer, but unless you are properly prepared chemically he can get no pictures.
They cry so much about nothing that by and by when they have something to cry ABOUT they have gone dry; they sob, and fetch nothing; we are not moved. They gavel me, these stale and overworked stage directions, these carbon films that got burnt out long ago and cannot now carry any faintest thread of light.
The controleur courteously provided for my use the government's steamship Sophia, which in six hours approached within easy distance of the kampong. My party consisted of Ah Sewey, a young Chinese photographer from Singapore whom I had engaged for developing plates and films, also Chonggat, a Sarawak Dayak who had had his training at the museum of Kuala Lampur in the Malay Peninsula.
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