Visualisation consists in giving tangible form to Inspiration; clothing Thoughts in flesh; creating living matter from Ideas; transmuting Emotions into thrilling substance; and peopling the imaginations of millions with the glorious company of Dreams come true, Desire gratified, Justice fulfilled, Brotherhood universal and Love triumphant!
Visualisation consists in giving tangible form to Inspiration; clothing Thoughts in flesh; creating living matter from Ideas; transmuting Emotions into thrilling substance; and peopling the imaginations of millions with the glorious company of Dreams come true, Desire gratified, Justice fulfilled, Brotherhood universal and Love triumphant!
Visualisation consists in giving tangible form to Inspiration; clothing Thoughts in flesh; creating living matter from Ideas; transmuting Emotions into thrilling substance; and peopling the imaginations of millions with the glorious company of Dreams come true, Desire gratified, Justice fulfilled, Brotherhood universal and Love triumphant!
Visualization
ITS RELATION TO ACTION; IMPORTANCE OF VOCABULARY; LITERATURE; TO REGISTER; INTERPRETATION; IN TERMS OF EMOTION; THE PART OF IMAGINATION.
ITS RELATION TO ACTION; IMPORTANCE OF VOCABULARY; LITERATURE; TO REGISTER; INTERPRETATION; IN TERMS OF EMOTION; THE PART OF IMAGINATION.
TECHNIQUE and rules, idea and action are as chaff on the threshing floor of the photodrama compared to visualization, which is the precious kernel to be sought. Visualization is both the key and the keynote of all photoplay-writing.
Hitherto, too much emphasis has been laidon the importance of action, with but a half-formed idea of the true technical definition of the term, which is “the connected series of events upon which a piece depends; the main subject or story, as distinguished from an incidental action or episode.” Too often has the novice had in mind the violent, whirling, feverish and physical action, familiarized by the “going into action” of the battlefield. Such action is always dynamic and spectacular, but not necessarily dramatic or interpretive. Everything is on the surface. It is all a matter of primal passion and primeval emotion. It is the stuff that melodramas are made of. But the deeper, more powerful and moving emotions of a civilized people are not surfacial. Their true interpretation is not expressible in immediate violent action. Culture and civilization are recognized and realized thru their repression of passion. Even the savage and the dumb beast have their refined emotions, expressed most vividly thru unwonted inertness or carefully concealed cunning.
(EXAMPLE 25.)The eternal mother-heart broods in dark corners over its dead offspring; itsoftly croons over and gently caresses its babe; deepest hate is manifested by the savage or sage thru cunning, soft-footed revenge and veiled thrust.
(EXAMPLE 25.)The eternal mother-heart broods in dark corners over its dead offspring; itsoftly croons over and gently caresses its babe; deepest hate is manifested by the savage or sage thru cunning, soft-footed revenge and veiled thrust.
There are two sides to the technical difficulties that confront the photoplaywright. Given the conception of an idea worth while, he must first have the power to visualize its phenomena to himself; he must then be able to represent its dramatic development visibly in terms of action and symbols of emotion. The power to visualize a story to one’s self can neither be taught nor learned; its exercise lies in the gift of imagination. The ability to represent this story in a form that may be readily interpreted depends on a practical assimilation and a working knowledge of dramatic construction and photoplay technique. It resolves itself into the task of telling the story indirectly with “business,” instead of by direct discourse.
A careful examination of the conditions of photoplay acceptance has revealed a curious and valuable piece of information. An unusually large percentage of the manuscripts received by producing companies contain good ideas, but they are very often renderedunacceptable because of imperfect and unilluminating expression. The editor, the director and the actor must understand from your scenarioexactlywhat action, interpretation and suggestion your words are intended to convey. Many big ideas, striking situations and splendid scenes never see the light of the screen because of the photoplaywright’s poverty of expression.
A broad vocabulary hesitates at no flight of inspiration, no matter how transcending; it falters at no wave of emotion, no matter how profound; it pauses at no thought, no matter how beautiful. “Beyond words,” “inexpressible” and “indescribable” are confessions of literary and dramatic weakness that disappoint editors and bring manuscripts back by return mail. There are human words to express every impression that the human mind records. The language of the heart, of the soul and of the photoplay is the language of the dictionary. Familiarity with words begets fluency and accuracy in their use. There is but one word to express one situation under a given condition; do not be content until you find it. That diligence alone will make the finished and successfulwriter. Given inspiration, the right words to express it will carry it to production, perhaps fame.
Perfect visualization, then, demands an exquisite command of language capable of nicely interpreting the finest shades of pathos, the deepest wells of passion, the most delicate waves of emotion, and a thousand grades of feeling.
Passing from the literary construction of the manuscript and play, we must become familiar with the mode of translating ideas, which must be clearly indicated by the writer. The three possible modes are by means of psychological action, suggestive attitude and mimetic expression. These are the elements of the new mimetic art of the photodrama just as the notes and keys are to music; words and sentences to literature; pigments and brushes to painting.
The secret of visualization lies in the nice employment of symbols of emotion. The danger lies in over-emphasis, which the writer can forestall by using an indirect or relative method, which means a constant exercise of repression.
(EXAMPLE 26.)A girl is made to show pity for a sister-woman who is weeping because of some fell blow. She does not go over and embrace her; that would show sympathy and participation. Pity comes into her face, her poise of the head, her wistful attitude. And if sympathy, she would probably stand with hand half-raised in helplessness if the woman was bereaved. If some lighter grief, she would gently caress the other and smile encouragement. Gentleness is poignant!
(EXAMPLE 26.)A girl is made to show pity for a sister-woman who is weeping because of some fell blow. She does not go over and embrace her; that would show sympathy and participation. Pity comes into her face, her poise of the head, her wistful attitude. And if sympathy, she would probably stand with hand half-raised in helplessness if the woman was bereaved. If some lighter grief, she would gently caress the other and smile encouragement. Gentleness is poignant!
It is the thoughtful addition of the little human touches and scenes that makes the great plays and gives appropriate expression to great ideas.
(EXAMPLE 27.)In scene 8, of “The Coming of the Real Prince,” we see Annie being driven from the kitchen by her unfeeling mother. The gist of the story would have been clear without dilating on this sequence. But the tragedy in Annie’s heart that was responsible for the play needed further visualising, so we see Annie passing up the back stairs with a broken-hearted look in her eyes; we see her cast herself upon her miserable cot and sob as tho her heart would break.(EXAMPLE 28.)In scene 22, of the same play, we see the very depths of Annie’s soul visualized. First in the caption: THE DREAM OF PRINCE CHARMING AND THE WONDROUS CITY BEGINS. Annie, in grotesque position in bedbeside battered lamp, reading “Cinderella.” Close-view shows her face, with lips moving, an ecstatic smile lightening her features. We return to the scene and see the book slip from her fingers, and in her dreaming sleep her hands clasp on her breast; she raises her hand as tho she saw someone approaching. A vision-scene pictures Prince Charming in doublet and hose. Returning to the scene again we find Annie wakened, with her hand over her eyes as tho what she saw was too brilliant to look upon.
(EXAMPLE 27.)In scene 8, of “The Coming of the Real Prince,” we see Annie being driven from the kitchen by her unfeeling mother. The gist of the story would have been clear without dilating on this sequence. But the tragedy in Annie’s heart that was responsible for the play needed further visualising, so we see Annie passing up the back stairs with a broken-hearted look in her eyes; we see her cast herself upon her miserable cot and sob as tho her heart would break.
(EXAMPLE 28.)In scene 22, of the same play, we see the very depths of Annie’s soul visualized. First in the caption: THE DREAM OF PRINCE CHARMING AND THE WONDROUS CITY BEGINS. Annie, in grotesque position in bedbeside battered lamp, reading “Cinderella.” Close-view shows her face, with lips moving, an ecstatic smile lightening her features. We return to the scene and see the book slip from her fingers, and in her dreaming sleep her hands clasp on her breast; she raises her hand as tho she saw someone approaching. A vision-scene pictures Prince Charming in doublet and hose. Returning to the scene again we find Annie wakened, with her hand over her eyes as tho what she saw was too brilliant to look upon.
The photoplay is silent only technically. In order that convincing illusion be accomplished, there must be a successful registration of all such sounds as affect the characters and action in the normal and natural development of the play. We are interested only in such sounds as have a direct bearing on the matter that holds the attention of the audience. In other words, it must—like all other interpretive matter—becontributory.
In indicating that the character hears a particular sound, we say that he “registers” it. The term register has been used too generally in photoplay construction to indicate what actors shall do under the stress of every emotion.
(EXAMPLE 29.)For instance, “Annie registers anger,” or “hate,” “that she will not consent to something,” “that she is displeased.” A character who registers anything taking place in his own heart or soul becomes merely an actor—he is pretending. Characters do not pretend—they ARE. They do not register their feelings—they FEEL them with results unquestionably natural.
(EXAMPLE 29.)For instance, “Annie registers anger,” or “hate,” “that she will not consent to something,” “that she is displeased.” A character who registers anything taking place in his own heart or soul becomes merely an actor—he is pretending. Characters do not pretend—they ARE. They do not register their feelings—they FEEL them with results unquestionably natural.
Sounds are recorded then thru reflex action, or registration, just as they actually reflect against the drums of the ear, telling the hearer that vibrations have been produced affecting the ear. Sounds are visualized by showing the appropriate affect on the character or characters.
(EXAMPLE 30.)We might have a deaf old father and his daughter. Her forbidden lover is behind a stone wall. He whispers softly several times before she is conscious of his call. She turns, joyously, and the two pantomime behind the old man’s back.
(EXAMPLE 30.)We might have a deaf old father and his daughter. Her forbidden lover is behind a stone wall. He whispers softly several times before she is conscious of his call. She turns, joyously, and the two pantomime behind the old man’s back.
Sounds are even more effectively visualized thru the employment of one or more correlative scenes.
(EXAMPLE 31.)In one case we see someone in the act of calling; in the next we see the call registered. The intervening distance may be gauged by the amount of energy expended by the character.Or we may see a man escaping from peril, he stumbles and falls. The next scene shows the captors registering the noise of his fall.
(EXAMPLE 31.)In one case we see someone in the act of calling; in the next we see the call registered. The intervening distance may be gauged by the amount of energy expended by the character.Or we may see a man escaping from peril, he stumbles and falls. The next scene shows the captors registering the noise of his fall.
In the elemental days of the cinematograph, it seemed improbable that music could ever be effectively registered. The visualization of strains of music, however, has met with most successful accomplishment. It is effected thru a careful imitation of the auricular and mental process of recording sound, combined with the use of symbols of emotion.
(EXAMPLE 32.)“The Lost Melody” (Vitagraph) is a play the plot of which is based on visualized sound. A strain of music sung and heard by a man under most virtuous circumstances is repeated when he is on the point of committing a crime, and it saves his soul.... In one scene we see the four leading characters walking along and singing each his love song, with his soul in his face; next we see the dancers at the club pausing and listening, some of the rapture of the singers faintly transmitted to their faces; in the roadway an automobile party stops, they put their hands behind their ears and listen, two keeping time, the other two put the spirit of the song in action and steal a lover’s kiss.(EXAMPLE 33.)Five years later the song is sung to save Douglas. The mental process of receptivity is imitated. We see Malcolm on the terrace singing; a close-view is then screened of a lineof the music and words; then we see Douglas pausing in his act of robbing his best friend, registering in alarm; then what he suddenly sees in his mind and heart is visioned, being the scene of that wonderful night years ago.
(EXAMPLE 32.)“The Lost Melody” (Vitagraph) is a play the plot of which is based on visualized sound. A strain of music sung and heard by a man under most virtuous circumstances is repeated when he is on the point of committing a crime, and it saves his soul.... In one scene we see the four leading characters walking along and singing each his love song, with his soul in his face; next we see the dancers at the club pausing and listening, some of the rapture of the singers faintly transmitted to their faces; in the roadway an automobile party stops, they put their hands behind their ears and listen, two keeping time, the other two put the spirit of the song in action and steal a lover’s kiss.
(EXAMPLE 33.)Five years later the song is sung to save Douglas. The mental process of receptivity is imitated. We see Malcolm on the terrace singing; a close-view is then screened of a lineof the music and words; then we see Douglas pausing in his act of robbing his best friend, registering in alarm; then what he suddenly sees in his mind and heart is visioned, being the scene of that wonderful night years ago.
Thus the silent drama may become vibrant with emotional music and resonant with tongues that need no interpreter, for all nations understand the universal language of the heart. The most sublime characters and valiant deeds, ravishing color and mellifluous voices, are in our soul; sublime sympathy is in our world-old heart; profound understanding is in our God-given reason, and this multi-glorious human marvel is gratified to the utmost in having its humanity called into active being.