Dedicated
Reading edition
TO
GEORGE MATHER RICHARDS
IN MEMORY OF
THE ART STUDENT DAYS WE SPENT TOGETHER WHEN
THE METROPOLITAN MUSEUM WAS
OUR PICTURE-DRAMA
TABLE OF CONTENTS.
A WORD FROM THE DIRECTOR OF THE DENVER ART ASSOCIATION
BOOK I THE GENERAL PHOTOPLAY SITUATION IN AMERICA, JANUARY 1, 1922, ESPECIALLY AS VIEWED FROM THE HEIGHTS OF THE CIVIC CENTRE AT DENVER, COLORADO, AND THE DENVER ART MUSEUM, WHICH IS TO BE A LEADING FEATURE OF THIS CIVIC CENTRE
BOOK II THE OUTLINE WHICH HAS BEEN ACCEPTED AS THE BASIS OF PHOTOPLAY CRITICISM IN AMERICA, BOTH IN THE STUDIOS OF THE LOS ANGELES REGION, AND ALL THE SERIOUS CRITICISM WHICH HAS APPEARED IN THE DAILY PRESS AND THE MAGAZINES
I. THE POINT OF VIEW
II. THE PHOTOPLAY OF ACTION
III. THE INTIMATE PHOTOPLAY
IV. THE MOTION PICTURE OF FAIRY SPLENDOR
V. THE PICTURE OF CROWD SPLENDOR
VI. THE PICTURE OF PATRIOTIC SPLENDOR
VII. THE PICTURE OF RELIGIOUS SPLENDOR
VIII. SCULPTURE-IN-MOTION
IX. PAINTING-IN-MOTION
X. FURNITURE, TRAPPINGS, AND INVENTIONS IN MOTION
XI. ARCHITECTURE-IN-MOTION
XII. THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE
XIII. HIEROGLYPHICS
BOOK III MORE PERSONAL SPECULATIONS AND AFTERTHOUGHTS NOT BROUGHT FORWARD SO DOGMATICALLY
XIV. THE ORCHESTRA, CONVERSATION, AND THE CENSORSHIP
XV. THE SUBSTITUTE FOR THE SALOON
XVI. CALIFORNIA AND AMERICA
XVII. PROGRESS AND ENDOWMENT
XVIII. ARCHITECTS AS CRUSADERS
XIX. ON COMING FORTH BY DAY
XX. THE PROPHET-WIZARD
XXI. THE ACCEPTABLE YEAR OF THE LORD