Bauhaus-Universität Weimar

Some religions painters of medieval times 
put in the picture itself phrases which the 
persons were supposed to speak, as if the 
words were leaving their mouths. But we 
could not imagine Baphael and Michelangelo 
making use of a method of communication 
which is so entirely foreign to the real spirit 
of painting. Every art grows slowly to the 
point where the artist relies on its character¬ 
istic and genuine forms of expression. Ele¬ 
ments which do not belong to it are at first 
mingled in it and must be slowly eliminated. 
The photoplay of the day after tomorrow will 
surely be freed from all elements which are 
not really pictures. The beginning of the 
photoplay as a mere imitation of the theater 
is nowhere so evident as in this inorganic 
combination with bits of dialogue or explan¬ 
atory phrases. The art of words and the art 
of pictures are there forcibly yoked together. 
Whoever writes his scenarios so that the pic¬ 
tures cannot be understood without these lin¬ 
guistic crutches is an esthetic failure in the 
new art. The next step toward the emanci¬ 
pation of the photoplay decidedly must be 
the creation of plays which speak the 
language of pictures only. 


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