Does Münsterberg say the photoplay should imitate the stage, and what does Chapter VIII conclude it shares with painting, drama and music and should not take from the theatre?
No. In Chapter VIII he states the popular standard he rejects (judge the photoplay by its nearness to the real theatre, which would condemn it) and argues that if art is not imitation, drama and photoplay may reach the same goal by sharply contrasting means. In the last paragraph he says the photoplay shares flat pictures with painting and the content of conflicting action among men with drama, is compared with music for the inner life it treats, and is none of them. Its rules must be traced from its own conditions rather than drawn simply from the theatre's. The chapter lists no specific stage technique to copy or avoid; the concrete screen-versus-stage differences begin in Chapter IX (covered by C3-B187-S41-01).
Structured fields
{
"citations": [
{
"url": "https://www.gutenberg.org/cache/epub/15383/pg15383.txt",
"note": "ch. VIII"
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}Evidence claims
- [sourced_fact] No. In Chapter VIII he states the popular standard he rejects (judge the photoplay by its nearness to the real theatre, which would condemn it) and argues that if art is not imitation, drama and photoplay may reach the same goal by sharply contrasting means. In the last paragraph he says the photoplay shares flat pictures with painting and the content of conflicting action among men with drama, is compared with music for the inner life it treats, and is none of them. Its rules must be traced from its own conditions rather than drawn simply from the theatre's. The chapter lists no specific stage technique to copy or avoid; the concrete screen-versus-stage differences begin in Chapter IX (covered by C3-B187-S41-01). · locator: ch. VIII source
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