Bauhaus-Universität Weimar

THE MEANS OF THE PHOTOPLAY 
either. On the contrary, just as mnsic is sur- 
ronnded by more technical rnles than litera¬ 
ture, the photoplay must be held together by 
the esthetic demands still more firmly than is 
the drama. The arts which are subordinated 
to the conditions of space, time, and causality 
find a certain firmness of structure in these 
material forms which contain an element of 
outer connectedness. But where these forms 
are given up and where the freedom of mental 
play replaces their outer necessity, every¬ 
thing would fall asunder if the esthetic unity 
were disregarded. 
This unity is, first of all, the unity of action. 
The demand for it is the same which we know 
from the drama. The temptation to neglect 
it is nowhere greater than in the photoplay 
where outside matter can so easily be in¬ 
troduced or independent interests devel¬ 
oped. It is certainly true for the photo¬ 
play, as for every work of art, that nothing 
has the right to existence in its midst which 
is not internally needed for the unfolding of 
the unified action. Wherever two plots are 
given to us, we receive less by far than if we 
had only one plot. We leave the sphere of 
valuable art entirely when a unified action 
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