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THE ART OF THE MOVING PICTURE
THE ART OF THE MOVING PICTURE
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CONTENTS
A WORD FROM THE DIRECTOR OF THE DENVER ART ASSOCIATION
BOOK I
THE GENERAL PHOTOPLAY SITUATION IN
AMERICA, JANUARY 1, 1922, ESPECIALLY AS
VIEWED FROM THE HEIGHTS OF THE CIVIC
CENTRE AT DENVER, COLORADO, AND THE
DENVER ART MUSEUM, WHICH IS TO BE A
LEADING FEATURE OF THIS CIVIC CENTRE
BOOK II
THE OUTLINE WHICH HAS BEEN ACCEPTED AS
THE BASIS OF PHOTOPLAY CRITICISM IN
AMERICA, BOTH IN THE STUDIOS OF THE
LOS ANGELES REGION, AND ALL THE SERIOUS
CRITICISM WHICH HAS APPEARED IN THE
DAILY PRESS AND THE MAGAZINES
CHAPTER
I. THE POINT OF VIEW
II. THE PHOTOPLAY OF ACTION
III. THE INTIMATE PHOTOPLAY
IV. THE MOTION PICTURE OF FAIRY SPLENDOR
V. THE PICTURE OF CROWD SPLENDOR
VI. THE PICTURE OF PATRIOTIC SPLENDOR
VII. THE PICTURE OF RELIGIOUS SPLENDOR
VIII. SCULPTURE-IN-MOTION
IX. PAINTING-IN-MOTION
X. FURNITURE, TRAPPINGS, AND INVENTIONS IN MOTION
XI. ARCHITECTURE-IN-MOTION
XII. THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE
XIII. HIEROGLYPHICS
BOOK III
MORE PERSONAL SPECULATIONS AND AFTERTHOUGHTS NOT BROUGHT
FORWARD SO DOGMATICALLY
XIV. THE ORCHESTRA, CONVERSATION, AND THE CENSORSHIP
XV. THE SUBSTITUTE FOR THE SALOON
XVI. CALIFORNIA AND AMERICA
XVII. PROGRESS AND ENDOWMENT
XVIII. ARCHITECTS AS CRUSADERS
XIX. ON COMING FORTH BY DAY
XX. THE PROPHET-WIZARD
XXI. THE ACCEPTABLE YEAR OF THE LORD
A WORD FROM THE DIRECTOR OF THE DENVER ART ASSOCIATION
The Art of the Moving Picture, as it appeared six years ago, possessed
among many elements of beauty at least one peculiarity. It viewed art as
a reality, and one of our most familiar and popular realities as an art.
This should have made the book either a revelation or utter Greek to most
of us, and those who read it probably dropped it easily into one or the
other of the two categories.
For myself, long a propagandist for its doctrines in another but related
field, the book came as a great solace. In it I found, not an appeal to
have the art museum used--which would have been an old though welcome
story--not this, but much to my surprise, the art museum actually at
work, one of the very wheels on which our culture rolled forward upon its
hopeful way. I saw among other museums the one whose destinies I was
tenderly guiding, playing in Lindsay's book the part that is played by
the classic myths in Milton, or by the dictionary in the writings of the
rest of us. For once the museum and its contents appeared, not as a
lovely curiosity, but as one of the basic, and in a sense humble
necessities of life. To paraphrase the author's own text, the art museum,
like the furniture in a good movie, was actually "in motion"--a character
in the play. On this point of view as on a pivot turns the whole book.
In The Art of the Moving Picture the nature and domain of a new Muse is
defined. She is the first legitimate addition to the family since classic
times. And as it required trained painters of pictures like Fulton and
Morse to visualize the possibility of the steamboat and the telegraph, so
the bold seer who perceived the true nature of this new star in our
nightly heavens, it should here be recorded, acquired much of the vision
of his seeing eye through an early training in art. Vachel Lindsay (as he
himself proudly asserts) was a student at the Institute in Chicago for
four years, spent one more at the League and at Chase's in New York, and
for four more haunted the Metropolitan Museum, lecturing to his fellows
on every art there shown from the Egyptian to that of Arthur B. Davies.
Only such a background as this could have evolved the conception of
"Architecture, sculpture, and painting in motion" and given authenticity
to its presentation. The validity of Lindsay's analysis is attested by
Freeburg's helpful characterization, "Composition in fluid forms," which
it seems to have suggested. To Lindsay's category one would be tempted to
add, "pattern in motion," applying it to such a film as the "Caligari"
which he and I have seen together and discussed during these past few
days. Pattern in this connection would imply an emphasis on the intrinsic
suggestion of the spot and shape apart from their immediate relation to
the appearance of natural objects. But this is a digression. It simply
serves to show the breadth and adaptability of Lindsay's method.
A WORD FROM THE DIRECTOR OF THE DENVER ART ASSOCIATION
BOOK I
THE GENERAL PHOTOPLAY SITUATION IN
AMERICA, JANUARY 1, 1922, ESPECIALLY AS
VIEWED FROM THE HEIGHTS OF THE CIVIC
CENTRE AT DENVER, COLORADO, AND THE
DENVER ART MUSEUM, WHICH IS TO BE A
LEADING FEATURE OF THIS CIVIC CENTRE
BOOK II
THE OUTLINE WHICH HAS BEEN ACCEPTED AS
THE BASIS OF PHOTOPLAY CRITICISM IN
AMERICA, BOTH IN THE STUDIOS OF THE
LOS ANGELES REGION, AND ALL THE SERIOUS
CRITICISM WHICH HAS APPEARED IN THE
DAILY PRESS AND THE MAGAZINES
CHAPTER
I. THE POINT OF VIEW
II. THE PHOTOPLAY OF ACTION
III. THE INTIMATE PHOTOPLAY
IV. THE MOTION PICTURE OF FAIRY SPLENDOR
V. THE PICTURE OF CROWD SPLENDOR
VI. THE PICTURE OF PATRIOTIC SPLENDOR
VII. THE PICTURE OF RELIGIOUS SPLENDOR
VIII. SCULPTURE-IN-MOTION
IX. PAINTING-IN-MOTION
X. FURNITURE, TRAPPINGS, AND INVENTIONS IN MOTION
XI. ARCHITECTURE-IN-MOTION
XII. THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE
XIII. HIEROGLYPHICS
BOOK III
MORE PERSONAL SPECULATIONS AND AFTERTHOUGHTS NOT BROUGHT
FORWARD SO DOGMATICALLY
XIV. THE ORCHESTRA, CONVERSATION, AND THE CENSORSHIP
XV. THE SUBSTITUTE FOR THE SALOON
XVI. CALIFORNIA AND AMERICA
XVII. PROGRESS AND ENDOWMENT
XVIII. ARCHITECTS AS CRUSADERS
XIX. ON COMING FORTH BY DAY
XX. THE PROPHET-WIZARD
XXI. THE ACCEPTABLE YEAR OF THE LORD
A WORD FROM THE DIRECTOR OF THE DENVER ART ASSOCIATION
The Art of the Moving Picture, as it appeared six years ago, possessed
among many elements of beauty at least one peculiarity. It viewed art as
a reality, and one of our most familiar and popular realities as an art.
This should have made the book either a revelation or utter Greek to most
of us, and those who read it probably dropped it easily into one or the
other of the two categories.
For myself, long a propagandist for its doctrines in another but related
field, the book came as a great solace. In it I found, not an appeal to
have the art museum used--which would have been an old though welcome
story--not this, but much to my surprise, the art museum actually at
work, one of the very wheels on which our culture rolled forward upon its
hopeful way. I saw among other museums the one whose destinies I was
tenderly guiding, playing in Lindsay's book the part that is played by
the classic myths in Milton, or by the dictionary in the writings of the
rest of us. For once the museum and its contents appeared, not as a
lovely curiosity, but as one of the basic, and in a sense humble
necessities of life. To paraphrase the author's own text, the art museum,
like the furniture in a good movie, was actually "in motion"--a character
in the play. On this point of view as on a pivot turns the whole book.
In The Art of the Moving Picture the nature and domain of a new Muse is
defined. She is the first legitimate addition to the family since classic
times. And as it required trained painters of pictures like Fulton and
Morse to visualize the possibility of the steamboat and the telegraph, so
the bold seer who perceived the true nature of this new star in our
nightly heavens, it should here be recorded, acquired much of the vision
of his seeing eye through an early training in art. Vachel Lindsay (as he
himself proudly asserts) was a student at the Institute in Chicago for
four years, spent one more at the League and at Chase's in New York, and
for four more haunted the Metropolitan Museum, lecturing to his fellows
on every art there shown from the Egyptian to that of Arthur B. Davies.
Only such a background as this could have evolved the conception of
"Architecture, sculpture, and painting in motion" and given authenticity
to its presentation. The validity of Lindsay's analysis is attested by
Freeburg's helpful characterization, "Composition in fluid forms," which
it seems to have suggested. To Lindsay's category one would be tempted to
add, "pattern in motion," applying it to such a film as the "Caligari"
which he and I have seen together and discussed during these past few
days. Pattern in this connection would imply an emphasis on the intrinsic
suggestion of the spot and shape apart from their immediate relation to
the appearance of natural objects. But this is a digression. It simply
serves to show the breadth and adaptability of Lindsay's method.