The Photoplay E-Book

Hugo Munsterberg

• Herausgeber: Hugo Münsterberg
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2015

Beschreibung

Do the photoplays furnish us only a photographic reproduction of a stage performance; is their aim thus simply to be an inexpensive substitute for the real theater, and is their esthetic standing accordingly far below that of the true dramatic art, related to it as the photograph of a painting to the original canvas of the master? Or do the moving pictures bring us an independent art, controlled by esthetic laws of its own, working with mental appeals which are fundamentally different from those of the theater, with a sphere of its own and with ideal aims of its own?

Leseprobe

Hugo Münsterberg

The Photoplay

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Table of contents

INTRODUCTION

CHAPTER I

CHAPTER II

PART I

CHAPTER III [1]

CHAPTER IV

CHAPTER V

CHAPTER VI

PART II

CHAPTER VII

CHAPTER VIII

CHAPTER IX

CHAPTER X

CHAPTER XI

INTRODUCTION

CHAPTER I

THE OUTER DEVELOPMENT OF THE MOVING PICTURESIt is arbitrary to say where the development of the moving pictures began and it is impossible to foresee where it will lead. What invention marked the beginning? Was it the first device to introduce movement into the pictures on a screen? Or did the development begin with the first photographing of various phases of moving objects? Or did it start with the first presentation of successive pictures at such a speed that the impression of movement resulted? Or was the birthday of the new art when the experimenters for the first time succeeded in projecting such rapidly passing pictures on a wall? If we think of the moving pictures as a source of entertainment and esthetic enjoyment, we may see the germ in that camera obscura which allowed one glass slide to pass before another and thus showed the railway train on one slide moving over the bridge on the other glass plate. They were popular half a century ago. On the other hand if the essential feature of the moving pictures is the combination of various views into one connected impression, we must look back to the days of the phenakistoscope which had scientific interest only; it is more than eighty years since it was invented. In America, which in most recent times has become the classical land of the moving picture production, the history may be said to begin with the days of the Chicago Exposition, 1893, when Edison exhibited his kinetoscope. The visitor dropped his nickel into a slot, the little motor started, and for half a minute he saw through the magnifying glass a girl dancing or some street boys fighting. Less than a quarter of a century later twenty thousand theaters for moving pictures are open daily in the United States and the millions get for their nickel long hours of enjoyment. In Edison's small box into which only one at a time could peep through the hole, nothing but a few trite scenes were exhibited. In those twenty thousand theaters which grew from it all human passions and emotions find their stage, and whatever history reports or science demonstrates or imagination invents comes to life on the screen of the picture palace.