Bauhaus-Universität Weimar

THE PHOTOPLAY 
common to all and which are understood by 
everybody. Love and hate, gratitude and 
envy, hope and fear, pity and jealousy, re¬ 
pentance and sinfulness, and all the similar 
crude emotions have been sufficient for the 
construction of most scenarios. The more 
mature development of the photoplay will 
certainly overcome this primitive character, 
as, while such an effort to reduce human life 
to simple instincts is very convenient for the 
photoplay, it is not at all necessary. In any 
case where this tendency prevails it must help 
greatly to excite and to intensify the personal 
feeling of life and to stir the depths of the 
human mind. 
But the richest source of the unique satis¬ 
faction in the photoplay is probably that es¬ 
thetic feeling which is significant for the new 
art and which we have understood from its 
psychological conditions. The massive outer 
world has lost its weighty it has been freed 
from spacey time, and causality, and it has 
been clothed in the forms of our own con¬ 
sciousness. The mind has triumphed over 
matter and the pictures roll on with the ease 
of musical tones. It is a superb enjoyment 
which no other art can furnish us. No wonder 
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