Bauhaus-Universität Weimar

THE PHOTOPLAY 
of human action, and it shares this trait with 
the novel. Both the social and the natural 
backgrounds are the real setting for the de¬ 
velopment of the chief character in the story. 
These features can easily be transferred to 
the photoplay and for this reason some pic- 
turized novels have had the advantage over 
the photoplay cut from the drama. The only 
true conclusion must remain, however, that 
neither drama nor novel is sufficient for the 
film scenarios. The photopoet must turn to 
life itself and must remodel life in the 
artistic forms which are characteristic of his 
particular art. If he has truly grasped the 
fundamental meaning of the screen world, his 
imagination will guide him more safely than 
his reminiscences of dramas which he has 
seen on the stage and of novels which he has 
read. 
If we turn to a few special demands which 
are contained in such a general postulate for 
a new artistic method, we naturally think at 
once of the rôle of words. The drama and 
novel live by words. How much of this 
noblest vehicle of thought can the photoplay 
conserve in its domain? We. all know what 
a large part of the photoplay today is told us 
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