 | The art of the moving picture, |  |
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CONTENTS
| I. THIS OUTLINE IS PROPOSED AS A BASIS FOR PHOTOPLAY CRITICISM IN AMERICA |
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| Chapter | Page | |
| I. | The Point of View | 1 |
| II. | The Photoplay of Action | 8 |
| III. | The Intimate Photoplay | 17 |
| IV. | The Motion Picture of Fairy Splendor | 30 |
| V. | The Picture of Crowd Splendor | 39 |
| VI. | The Picture of Patriotic Splendor | 51 |
| VII. | The Picture of Religious Splendor | 68 |
| VIII. | Sculpture-in-Motion | 79 |
| IX. | Painting-in-Motion | 97 |
| X. | Furniture, Trappings, and Inventions in Motion |
113 |
| XI. | Architecture-in-Motion | 133 |
| XII. | Thirty Differences between the Photoplays and the Stage |
151 |
| XIII. | Hieroglyphics | 171 |
| II. MORE PERSONAL SPECULATIONS AND AFTERTHOUGHTS NOT BROUGHT FORWARD SO DOGMATICALLY |
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| XIV. | The Orchestra, Conversation, and the Censorship |
189 |
| XV. | The Substitute for the Saloon | 207 |
| XVI. | California and America | 217 |
| XVII. | Progress and Endowment | 225 |
| XVIII. | Architects as Crusaders | 244 |
| XIX. | On Coming Forth by Day | 252 |
| XX. | The Prophet-Wizard | 261 |
| XXI. | The Acceptable Year of the Lord | 277 |
| The art of the moving picture, | |