What aesthetic function does Münsterberg assign to the photoplay in Chapter XI, and what does he say it takes to achieve it?
1916 argument, unmeasured. He calls aesthetic cultivation the photoplay's 'greatest mission' because no art reaches a larger daily audience in a more receptive frame of mind. He argues aesthetic training cannot follow the audience's current liking: the commonplace triumphs over the significant unless systematic effort is made, as with symphony and opera, and a public that first prefers Sousa to Beethoven has to be led by slow steps. He defends the medium against the 'canned drama' objection by analogy with printed poetry and sculpture, and declines to predict whether a great art will emerge. The assertions about taste are unsourced.
1916 argument, unmeasured. He calls aesthetic cultivation the photoplay's 'greatest mission' because no art reaches a larger daily audience in a more receptive frame of mind. He argues aesthetic training cannot follow the audience's current liking: the commonplace triumphs over the significant unless systematic effort is made, as with symphony and opera, and a public that first prefers Sousa to Beethoven has to be led by slow steps. He defends the medium against the 'canned drama' objection by analogy with printed poetry and sculpture, and declines to predict whether a great art will emerge. The assertions about taste are unsourced.
Curator qualifications: Aesthetic mission; internal tension (better plays win vs commonplace triumphs) kept.
Evidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.
Structured fields
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- [sourced_fact] 1916 argument, unmeasured. He calls aesthetic cultivation the photoplay's 'greatest mission' because no art reaches a larger daily audience in a more receptive frame of mind. He argues aesthetic training cannot follow the audience's current liking: the commonplace triumphs over the significant unless systematic effort is made, as with symphony and opera, and a public that first prefers Sousa to Beethoven has to be led by slow steps. He defends the medium against the 'canned drama' objection by analogy with printed poetry and sculpture, and declines to predict whether a great art will emerge. The assertions about taste are unsourced. · locator: candidate evidence excerpts source
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