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"In the field of film aesthetics, it is the first important American work, still important--The Art of the Moving Picture is astonishing."
--Stanley Kauffmann
Written in 1915, The Art of the Moving Picture by poet Vachel Lindsay is the first book to treat movies as art. Lindsay writes a brilliant analysis of the early silent films (including several now lost films). He is extraordinarily prescient about the future of moviemaking--particularly about the business, the prominence of technology, and the emergence of the director as the author of the film.
- Sales Rank: #1878124 in Books
- Color: Multicolor
- Published on: 2000-03-07
- Released on: 2000-03-07
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .50" w x 5.50" l, .68 pounds
- Binding: Paperback
- 232 pages
From the Inside Flap
"In the field of film aesthetics, it is the first important American work, still important--The Art of the Moving Picture is astonishing."
--Stanley Kauffmann
Written in 1915, The Art of the Moving Picture by poet Vachel Lindsay is the first book to treat movies as art. Lindsay writes a brilliant analysis of the early silent films (including several now lost films). He is extraordinarily prescient about the future of moviemaking--particularly about the business, the prominence of technology, and the emergence of the director as the author of the film.
From the Back Cover
"This is a joyous and wonderful performance," said Francis Hackett, when he reviewed this book in the New Republic of December 25, 1915, "a bold and brilliant theory, really bold and really brilliant, and takes first place as an inspiration of the greatest popular aesthetic phenomenon in the world."
The Art of the Moving Picture is astonishing, as a work of analysis and vision. Over fifty years ago Lindsay saw the hunger that still obsesses the film enthusiast. Sculpture-in-motion, painting-in-motion, architecture-in-motion are nuggets out of which he refines subtle perceptions.
Lindsay sees, in 1915, the revolution in human perception involved in the very existence of film. There is a clear prediction of McLuhan in "Edison is the new Gutenberg. He has invented the new printing." Lindsay sees, in 1915, the quintessence of the auteur theory of film criticism, formulated some forty years later: "An artistic photoplay . . . is not a factory-made staple article, but the product of the creative force of one soul, the flowering of a spirit that has the habit of perpetually renewing itself."
This book is a considerable marvel. Lindsay had a clear sense that a profound change was taking place, not only in cultural history but in all human histories―the external and also the most secret. And, poet and evangelist that he was, he saw some fundamental ways to understand and use the change. Francis Hackett concluded his review in 1915: "He has initiated photoplay criticism. That is a big thing to have done, and he has done it, to use his own style, with Action, Intimacy, and Friendliness, and Splendor."
About the Author
Vachel Lindsay (1879-1931) studied painting at the Art Institute of Chicago and then in New York with Robert Henri before becoming a poet. He was a member of the Modernist School (others included Ezra Pound,e. e. cummings, and Wallace Stevens) and published over a dozen collections of poetry.
Most helpful customer reviews
14 of 15 people found the following review helpful.
quite astonishing
By Martijn13Maart1970
Quite astonishing, wrote one critic, and this, often very dreamy, book of 1915!!! is exactly this. I am not a movie critic, just a reader and this book was a delight to read. It deals about the era of the silent movies, around 1915 when there were no Rambos or Terminators running across the screen with Qsound and computerised warping effects. It was the time when everything had to be expressed in gestures, like a moving picture book, because of the lack of sound.
The author therefore comes with a lot of interesting theories and opinions of how a story could and should be elegantly communicated in a moving picture. He even comes up with a theory of why California is as crazy as Hollywood seems to most of us now.
This work has to be a classic of movie pictures, just like The Art of War for the military, or Keynes for economics, and for people that are, like me, just interested readers of all kind of subjects, also highly recommended.
1 of 1 people found the following review helpful.
Like a time capsule
By pike
For any lover of the Silver Screen, 'The Art of the Moving Picture', is a treasure.
This book shows us the movie business, and motion pictures, in their infancy.
The first hand discussion of the subject in it's earliest stages, is fascinating, as are the ideas expressed therein.
I felt as if I was witnessing the birth of an art form.
The book treats Motion Pictures as a fine art. One that, with nearly 100 years of hindsight, is appropriate and gives one an idea of the strides that were made in the field.
To know what Movies are and were in all the years since the publication of this work adds another layer to the read.
One can appreciate those first bold steps when one recognizes how far the art has come.
A truly great book and worth the read for anyone who loves the art of film.
though definitely dated in style and subject, it never the less delivers a wholly wonderful glimpse into our entertainment past.
1 of 1 people found the following review helpful.
Archaic Style, Invaluable Reference
By Barry Sharpe
One of the earliest compilations of movie history, this book serves motion picture buffs on several levels. First, it gives a view of films as art in the silent era. Secondly one sees film techniques thought innovative fifty years later. Finally, the people involved were the author's contemporaries, allowing a view both compelling and provocative.
By 1915 motion pictures were maturing. To glean an understanding of their development is essential if one is a student of their history. This book adds to the realization that already many in the industry were making sophisticated productions captivating eager audiences.
At the same time, one would be remiss not to inform the reader that the archaic style of this book may be troubling. But in one hundred years the book will still have merit, this review most likely will not.
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