By Vachel Lindsay

Within the box of movie aesthetics, it's the first vital American paintings, nonetheless important--The artwork of the relocating photograph is astonishing.--Stanley KauffmannWritten in 1915, The paintings of the relocating photo via poet Vachel Lindsay is the 1st publication to regard video clips as artwork. Lindsay writes an excellent research of the early silent movies (including numerous now misplaced films). he's terribly prescient concerning the way forward for moviemaking--particularly in regards to the enterprise, the prominence of expertise, and the emergence of the director because the writer of the movie.

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The Art of the Moving Picture (Modern Library Movies)

Within the box of movie aesthetics, it's the first vital American paintings, nonetheless important--The paintings of the relocating photo is unbelievable. --Stanley KauffmannWritten in 1915, The paintings of the relocating photograph by means of poet Vachel Lindsay is the 1st booklet to regard videos as artwork. Lindsay writes an excellent research of the early silent movies (including a number of now misplaced films).

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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.

INTRODUCTION by Stanley Kauffmann “This is a joyous and wonderful performance,” said Francis Hackett when he reviewed this book in the New Republic of December 25, 1915. ” Hackett was certainly not alone in praising the book. Gordon Craig, the great man of the theater whom Lindsay urges to enter films, wrote to the author from Rome suggesting that they found a film studio together. D. W. Griffith was moved to ask Lindsay to be his guest at the New York premiere of Intolerance. Victor O. Freeburg, who taught what surely must have been one of the first college film courses—at the School of Journalism of Columbia University—used the book as a text.

The rhythmic quality of the picture-motions is twitched to death. In the bad photoplay even the picture of an express train more than exaggerates itself. Yet when the photoplay chooses to behave it can reproduce a race far more joyously than the stage. On that fact is based the opportunity of this form. Many Action Pictures are indoors, but the abstract theory of the Action Film is based on the out-of-door chase. You remember the first one you saw where the policeman pursues the comical tramp over hill and dale and across the town lots.

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