Chapter VI--The Picture of Patriotic Splendor, which was illustrated by
all the War Films, the one most recently approved and accepted by the
public being The Four Horsemen of the Apocalypse.

Chapter VII--The Picture of Religious Splendor, which has no examples,
that remain in the memory with any sharpness in 1922, except The Faith
Healer, founded on the play by William Vaughn Moody, the poet, with much
of the directing and scenario by Mrs. William Vaughn Moody, and a more
talked-of commercial film, The Miracle Man. But not until the religious
film is taken out of the commercial field, and allowed to develop
unhampered under the Church and the Art Museum, will the splendid
religious and ritualistic opportunity be realized.

Chapter VIII--Sculpture-in-Motion, being a continuation of the argument
of chapter two. The Photoplay of Action. Like the Action Film, this
aspect of composition is much better understood by the commercial people
than some other sides of the art. Some of the best of the William S. Hart
productions show appreciation of this quality by the director, the
photographer, and the public. Not only is the man but the horse allowed
to be moving bronze, and not mere cowboy pasteboard. Many of the pictures
of Charles Ray make the hero quite a bronze-looking sculpturesque person,
despite his yokel raiment.

Chapter IX--Painting-in-Motion, being a continuation on a higher terrace
of chapter three, The Intimate Photoplay. Charlie Chaplin has intimate
and painter's qualities in his acting, and he makes himself into a
painting or an etching in the midst of furious slapstick. But he has been
in no films that were themselves paintings. The argument of this chapter
has been carried much further in Freeburg's book, The Art of Photoplay
Making.