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Download PDF by Ronald Holloway: Beyond the Image: Approaches to the Religious Dimension in

By Ronald Holloway

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Words or symbols contemptuous of racial, religious or national groups shall not be used so as to incite bigotry or hatred. Excessive cruelty to animals shall not be portrayed, and animals shall not be treated inhumanely. It was tongue in cheek. The industry stood little to gain and much to lose by enforcing the new regulations. Only the Armed Forces cinema service and television required the old Seal of Approval, TOWARD A RELIGIOUS CINEMA 39 and theatre owners were more likely to look at surveys or follow various rating sheets on their own to judge public opinion on the product they were exhibiting.

In 1915 poet Vachel Lindsay devoted more space in The Art of the Moving Picture to the "Photoplay of Splendor" (Fairy, Crowd, Patriotic and Religious Splendor) than to action films or psychological dramas; in a sense, his whole book is stamped by the "mystical" nature of the cinema. When he proclaims his view of Religious Splendor he is pointing to the crowning achievement of the young art form: The real death in the photoplay is the ritualistic death, the real birth is the ritualistic birth, and the cathedral mood of the motion picture which goes with these and is close to these in many of its phases, is an inexhaustible resource.

50 admission fee. The nickelodeon was dead. The inventive age of cinema between 1895 and 1915 had its mystical side for audiences new to the magic of the seventh art. Zecca's tinted Passions in the manner of Sulpician art calendars were sent around the world by the Pathe company, popular attractions both artistically and commercially in the cinema world in 1912. Melies and his raucous devils, fairy lands and fantastic voyages opened up a world of breathless imagination. Olcott's epic stories of grandeur and folklore created new myths greater than the ones he built on.

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