This discussion will be resumed on another plane in the eighth chapter:
Sculpture-in-Motion.

Having read thus far, why not close the book and go round the corner to a
photoplay theatre? Give the preference to the cheapest one. _The Action
Picture will be inevitable. Since this chapter was written, Charlie
Chaplin and Douglas Fairbanks have given complete department store
examples of the method, especially Chaplin in the brilliantly constructed
Shoulder Arms, and Fairbanks in his one great piece of acting, in The
Three Musketeers_.




CHAPTER III

THE INTIMATE PHOTOPLAY


Let us take for our platform this sentence: THE MOTION PICTURE ART IS A
GREAT HIGH ART, NOT A PROCESS OF COMMERCIAL MANUFACTURE. The people I
hope to convince of this are (1) The great art museums of America,
including the people who support them in any way, the people who give the
current exhibitions there or attend them, the art school students in the
corridors below coming on in the same field; (2) the departments of
English, of the history of the drama, of the practice of the drama, and
the history and practice of "art" in that amazingly long list of our
colleges and universities--to be found, for instance, in the World
Almanac; (3) the critical and literary world generally. Somewhere in this