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Imagine the most winsome tableau that passes before you, extended logically through one or three reels, with no melodramatic interruptions or awful smashes. For a further discussion of these smashes, and other items in this chapter, read the ninth chapter, entitled "Painting-in-Motion."

This chapter does not urge that it be readapted for a photoplay in San Francisco or anywhere else. But a kindred painting-in-motion, something as beautiful and worthy and intimate, in strictly photoplay terms, might well be the flower of the work of the local groups of film actors. They are gathering followers and imitators.

She is in the cottage with the strange old mother. I have seen a painting in this mood by the Greek Nickolas Gysis. The Intimate-and-friendly Moving Picture, the photoplay of painting-in-motion, need not be indoors as long as it has the native-heath mood. It is generally keyed to the hearthstone, and keeps quite close to it. But how well I remember when the first French photoplays began to come.

But at least I had converted one Art Institute Director to the idea that an ex-student of the Institute could not only write a book about painting-in-motion, but the painting could be shown in an Art Museum as promise of greater things in this world.

Hundreds of indoor stories will be along such lines, once the merely commercial motive is eliminated, and the artist is set free. This film is an extraordinary variation of the intimate, as expounded in chapter three. It is drawing-in-motion, instead of painting-in-motion. Because it was drawing instead of painting, literary-minded people stepped to the hasty conclusion it was experimental.