HUGO MUNSTERBERG PHOTOPLAY PDF

This blog is part of the courses on film, art, literature, and media given by Dr. Hudson Moura , Toronto, Canada. If we do so, we come to the true thesis of this whole book. Our esthetic discussion showed us that it is the aim of art to isolate a significant part of our experience in such a way that it is separate from our practical life and is in complete agreement within itself.

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This blog is part of the courses on film, art, literature, and media given by Dr. Hudson Moura , Toronto, Canada. If we do so, we come to the true thesis of this whole book. Our esthetic discussion showed us that it is the aim of art to isolate a significant part of our experience in such a way that it is separate from our practical life and is in complete agreement within itself.

Our esthetic satisfaction results from this inner agreement and harmony, but in order that we may feel such agreement of the parts we must enter with our own impulses into the will of every element, into the meaning of every line and color and form, every word and tone and note. The means of the various arts, we saw, are the forms and methods by which this aim is fulfilled. They must be different for every material.

If we ask now what are the characteristic means by which the photoplay succeeds in overcoming reality, in isolating a significant dramatic story and in presenting it so that we enter into it and yet keep it away from our practical life and enjoy the harmony of the parts, we must remember all the results to which our psychological discussion in the first part of the book has led us.

We recognized there that the photoplay, incomparable in this respect with the drama, gave us a view of dramatic events which was completely shaped by the inner movements of the mind.

To be sure, the events in the photoplay happen in the real space with its depth. Again the events are seen in continuous movement; and yet the pictures break up the movement into a rapid succession of instantaneous impressions. We do not see the objective reality, but a product of our own mind which binds the pictures together.

But much stronger differences came to light when we turned to the processes of attention, of memory, of imagination, of suggestion, of division of interest and of emotion. The attention turns to detailed points in the outer world and ignores everything else: the photoplay is doing exactly this when in the close-up a detail is enlarged and everything else disappears. Memory breaks into present events by bringing up pictures of the past: the photoplay is doing this by its frequent cut-backs, when pictures of events long past flit between those of the present.

The imagination anticipates the future or overcomes reality by fancies and dreams; the photoplay is doing all this more richly than any chance imagination would succeed in doing.

But chiefly, through our division of interest our mind is drawn hither and thither. We think of events which run parallel in different places. Events in three or four or five regions of the world can be woven together into one complex action. In every one of these aspects the photoplay succeeds in doing what the drama of the theater does not attempt. We shall gain our orientation most directly if once more, under this point of view, we compare the photoplay with the performance on the theater stage.

We shall not enter into a discussion of the character of the regular theater and its drama. We take this for granted. In tragedy and in comedy from ancient times to Ibsen, Rostand, Hauptmann, and Shaw we recognize one common purpose and one common form for which no further commentary is needed. How does the photoplay differ from a theater performance?

We insisted that every work of art must be somehow separated from our sphere of practical interests. The theater is no exception. The structure of the theater itself, the framelike form of the stage, the difference of light between stage and house, the stage setting and costuming, all inhibit in the audience the possibility of taking the action on the stage to be real life.

Stage managers have sometimes tried the experiment of reducing those differences, for instance, keeping the audience also in a fully lighted hall, and they always had to discover how much the dramatic effect was reduced because the feeling of distance from reality was weakened. The photoplay and the theater in this respect are evidently alike. The screen too suggests from the very start the complete unreality of the events. But each further step leads us to remarkable differences between the stage play and the film play.

In every respect the film play is further away from the physical reality than the drama and in every respect this greater distance from the physical world brings it nearer to the mental world. The stage shows us living men. It is not the real Romeo and not the real Juliet; and yet the actor and the actress have the ringing voices of true people, breathe like them, have living colors like them, and fill physical space like them.

What is left in the photoplay? The voice has been stilled: the photoplay is a dumb show. Yet we must not forget that this alone is a step away from reality which has often been taken in the midst of the dramatic world. We know how popular the pantomimes were among the Greeks, and how they stood in the foreground in the imperial period of Rome. Old Rome cherished the mimic clowns, but still more the tragic pantomimics.

Even complex artistic tragedies without words have triumphed on our present-day stage. Moreover the student of a modern pantomime cannot overlook a characteristic difference between the speechless performance on the stage and that of the actors of a photoplay. Of course, the photoplayer must somewhat exaggerate the natural expression. The whole rhythm and intensity of his gestures must be more marked than it would be with actors who accompany their movements by spoken words and who express the meaning of their thoughts and feelings by the content of what they say.

Nevertheless the photoplayer uses the regular channels of mental discharge. He acts simply as a very emotional person might act. But the actor who plays in a pantomime cannot be satisfied with that.

He is expected to add something which is entirely unnatural, namely a kind of artificial demonstration of his emotions. He must not only behave like an angry man, but he must behave like a man who is consciously interested in his anger and wants to demonstrate it to others. He exhibits his emotions for the spectators.

He really acts theatrically for the benefit of the bystanders. If he did not try to do so, his means of conveying a rich story and a real conflict of human passions would be too meager.

He must not yield to the temptation to play a pantomime on the screen, or he will seriously injure the artistic quality of the reel. Lights and shades replace the manifoldness of color effects and mere perspective must furnish the suggestion of depth. We traced it when we discussed the psychology of kinematoscopic perception. But we must not put the emphasis on the wrong point. The natural tendency might be to lay the chief stress on the fact that those people in the photoplay do not stand before us in flesh and blood.

The essential point is rather that we are conscious of the flatness of the picture. If we were to see the actors of the stage in a mirror, it would also be a reflected image which we perceive. We should not really have the actors themselves in our straight line of vision; and yet this image would appear to us equivalent to the actors themselves, because it would contain all the depth of the real stage. The process which leads from the living men to the screen is more complex than a mere reflection in a mirror, but in spite of the complexity in the transmission we do, after all, see the real actor in the picture.

The photograph is absolutely different from those pictures which a clever draughtsman has sketched. In the photoplay we see the actors themselves and the decisive factor which makes the impression different from seeing real men is not that we see the living persons through the medium of photographic reproduction but that this reproduction shows them in a flat form.

The bodily space has been eliminated. We said once before that stereoscopic arrangements could reproduce somewhat this plastic form also. Yet this would seriously interfere with the character of the photoplay. We need there this overcoming of the depth, we want to have it as a picture only and yet as a picture which strongly suggests to us the actual depth of the real world. We want to keep the interest in the plastic world and want to be aware of the depth in which the persons move, but our direct object of perception must be without the depth.

But the photoplay sacrifices not only the space values of the real theater; it disregards no less its order of time. The theater presents its plot in the time order of reality. It may interrupt the continuous flow of time without neglecting the conditions of the dramatic art. There may be twenty years between the third and the fourth act, inasmuch as the dramatic writer must select those elements spread over space and time which are significant for the development of his story.

But he is bound by the fundamental principle of real time, that it can move only forward and not backward. Whatever the theater shows us now must come later in the story than that which it showed us in any previous moment. The strict classical demand for complete unity of time does not fit every drama, but a drama would give up its mission if it told us in the third act something which happened before the second act.

But this is an enclosure of the past in the present, which corresponds exactly to the actual order of events. The photoplay, on the other hand, does not and must not respect this temporal structure of the physical universe. At any point the photoplay interrupts the series and brings us back to the past. We studied this unique feature of the film art when we spoke of the psychology of memory and imagination.

With the full freedom of our fancy, with the whole mobility of our association of ideas, pictures of the past flit through the scenes of the present. Time is left behind. Man becomes boy; today is interwoven with the day before yesterday. The freedom of the mind has triumphed over the unalterable law of the outer world. It is interesting to watch how playwrights nowadays try to steal the thunder of the photoplay and experiment with time reversals on the legitimate stage.

This is, after all, quite similar to a play within a play. A very different experiment is tried in "Under Cover. The fourth act, which plays downstairs, begins a quarter of an hour before the explosion. Here we have a real denial of a fundamental condition of the theater. Or if we stick to recent products of the American stage, we may think of "On Trial," a play which perhaps comes nearest to a dramatic usurpation of the rights of the photoplay.

We see the court scene and as one witness after another begins to give his testimony the courtroom is replaced by the scenes of the actions about which the witness is to report. Another clever play, "Between the Lines," ends the first act with a postman bringing three letters from the three children of the house. The second, third, and fourth acts lead us to the three different homes from which the letters came and the action in the three places not only precedes the writing of the letters; but goes on at the same time.

Such experiments are very suggestive but they are not any longer pure dramatic art. It is always possible to mix arts. An Italian painter produces very striking effects by putting pieces of glass and stone and rope into his paintings, but they are no longer pure paintings. The drama in which the later event comes before the earlier is an esthetic barbarism which is entertaining as a clever trick in a graceful superficial play, but intolerable in ambitious dramatic art.

It is not only tolerable but perfectly natural in any photoplay. The pictorial reflection of the world is not bound by the rigid mechanism of time. Our mind is here and there, our mind turns to the present and then to the past: the photoplay can equal it in its freedom from the bondage of the material world.

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Hugo Münsterberg Biography

When he was 12, his mother passed away. In , his father also passed away. After graduating from the Gymnasium of Danzig in , he enrolled at the University of Leipzig. He earned his Ph. Due to his poor English-speaking skills at the time, he generally remained at in the lab and published his work in German. He declined the offer and chose to instead return to Europe. Two years later, he returned to Harvard, where he continued to work for the rest of his life.

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