LITERARY NOTES

Evening Post, Volume CIII, Issue 77, 1 April 1922, Page 15

LITERARY NOTES

Th« cheapest chromo has certain evident elements of realism, such as colour and detail, that -appeal strongly and directly. There are good chromes and poor etchings. Have the courage of your convictions. Do not think that you must follow either the crowd or the solect few. Only make ifc a point to pick out the best "in the specialty that strikes your fancy. Prints should be en-, joyed understandingly. That will not lessen your enjoyment; it will simply make it more keen. And in that process inferior art wiD recede from estimation, which will quite inevitably hold on to that which is good. All that is required o.f the student is the willingness to stand in the'attitude of others, to learn of and sympathise with the life and thought and views of other times or of foreign Jands. Look, look, look, and keep on looking.—From "How to Appreciate Pictures," by Frank Weiten Kampf. Scribners, New York. If the film is to vindicate for itself, in its highest forms, a place parallel to that occupied by the kindred arts (also in their highest forms), it must concentrate its energies on what its peculiar medium can do better than any other medium. The question is, no doubt, partly one of subject; but very many subjects are, as I have said, suitable for any artistic medium of expression. The more vital point is treatment. Either originally, or by. a process of free translation, the subject must be shaped to the medium —must be transposed to it. It is to this point that, as it seems to me, attention is specially necessary if the art of the film is to grow in merit and achievement. But let me once more reiterate and emphasise that the easy and obvious is not the meritovious, and that even the meritorious is not good enough. The film has a wonderful new means of expression ; it' must strive to do nothing less than full justice to it.— Anthony Hope, in the Hepworth Magazine.