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The Art of the Moving Picture

The Art of the Moving Picture by Vachel Lindsay
By: (1879-1931)

"This 1922 book by poet and sometime cultural critic Vachel Lindsay might have been the first to treat the then-new medium of moving pictures as an art form, one that was potentially as rich, complex, mysterious as far older ones, and whose physical and aesthetic properties were only starting to be understood. The highlight of the book might be “The Motion Picture of Fairy Splendor,” which examines the relationship between film storytelling, magic, myths, legends and bedtime stories. It’s discombobulating, in a good way, to read Lindsay’s attempts to grapple with what, precisely, cinema is. Being supposedly sophisticated 21st century people, we all feel as though we know what cinema is, and don’t need to have the basics explained to us, but this is really just vanity and ignorance talking. Bottom line: You haven’t really, seriously thought about movies — what they are, and what they can and cannot do, and become — until you’ve read this book."

First Page:

THE ART OF THE MOVING PICTURE

By

VACHEL LINDSAY

Intended, First of All, for the New Art Museums Springing Up All over the Country. But the Book Is for Our Universities and Institutions of Learning. It Contains an Appeal to Our Whole Critical and Literary World, and to Our Creators of Sculpture, Architecture, Painting, and the American Cities They Are Building. Being the 1922 Revision of the Book First Issued in 1915, and Beginning With an Ample Discourse on the Great New Prospects of 1922

"Hail, all ye gods in the house of the soul, who weigh Heaven and Earth in a balance, and who give celestial food."

From the book of the scribe Ani, translated from the original Egyptian hieroglyphics by Professor E.A. Wallis Budge

Dedicated

TO GEORGE MATHER RICHARDS IN MEMORY OF THE ART STUDENT DAYS WE SPENT TOGETHER WHEN THE METROPOLITAN MUSEUM WAS OUR PICTURE DRAMA

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

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