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 page v

BRIEF CONTENTS
Preface ix
Chapter-by-Chapter Changes in the Third Edition xiii
Acknowledgments xvii

PART ONE Marketing in the Twenty-First

Century 1
1 Why Marketing Matters to You 2
2 Strategic Planning 28
Appendix 2A Sample Marketing Plan 58
3 The Global Environment 70

PART TWO Understanding Your

Customer 101
4 Consumer Behavior 102
5 Marketing Research 144
6 Product Development 180
7 Segmentation, Targeting, and Positioning 218
PART THREE Reaching Your Customer
249
8 Promotional Strategies 250
9 Personal Selling 280
10 Supply Chain and Logistics Management 320
11 Pricing 352
12 Retailing 382
13 Digital and Social Media Marketing 424

PART FOUR Responding to Your

Customer 461
14 Branding 462
15 Customer Relationship Management 490
16 Social Responsibility and Sustainability 524

Appendix: Sample Marketing Plan 552

Glossary 563
Company Index 575
Name Index 581
Subject Index 587
 page vi

HELLO, MY NAME IS . . .

C. Shane Hunt
Dr. C. Shane Hunt received his PhD in marketing from Oklahoma State
University. Shane has won numerous awards for his teaching, including the
2010 National Inspire Integrity Award from the National Society of
Collegiate Scholars, the 2010 Lt. Col. Barney Smith Award as Professor of
the Year at Arkansas State University, the 2011 Excellence in
Undergraduate Teaching Award, the 2015 Honors Professor of the Year
Award, and the 2018 Outstanding Faculty Member for the Advancement of
Learning.
Shane’s research has appeared in the Journal of Personal Selling and
Sales Management, the Journal of Business Logistics, and other leading
marketing journals. He has presented to numerous organizations including
the American Marketing Association and the National Conference in Sales
Management.
 After completing his MBA degree, Shane went to work for a Fortune
500 company in Tulsa, Oklahoma, and spent eight years working as a
pricing analyst, product manager, and business development manager
overseeing numerous strategic initiatives. In addition to his role as a
professor, Shane also serves as a consultant, speaker, and board member
for businesses and nonprofit organizations across the country.
Shane is now the R.M. “Bob” Wood Endowed Professor in Sales
Leadership and a professor of marketing at Arkansas State University. He
lives in Jonesboro, Arkansas, with his wife, Jenifer, and their two children,
Andrew and Sarah.

John E. Mello
Dr. John E. Mello received his PhD from the University of Tennessee. John
is a well-respected researcher and educator and is the recipient of the 2012
Excellence in Teaching Award and the 2014 Excellence in Research Award
from the Arkansas State University College of Business. Prior to
completing his PhD, John spent 28 years in the consumer packaged-goods
industry in a variety of supply chain management positions. He holds a
bachelor’s degree from Central Connecticut State University and master’s
degrees from the University of New Haven and Wilmington College.
John’s research has appeared in leading journals, including the Journal
of Business Logistics, Transportation Journal, Journal of Supply Chain
Management, and the International Journal of Physical Distribution and
Logistics Management.
John is a professor of supply chain management at Arkansas State
University. He lives in Jonesboro, Arkansas, with his wife, Sandra; they
have two adult daughters, Abby and Katie.

page vii

George D. Deitz
Dr. George D. Deitz completed his PhD in marketing at the University of
Alabama. He is currently the George Johnson Professor in Marketing at
the University of Memphis. George has enjoyed the opportunity to teach a
wide variety of face-to-face and online courses at the undergraduate,
MBA, and doctoral levels.
In 2013, George helped found the Consumer Neuroscience Research
Laboratory (C-NRL) at Memphis, with the mission of advancing the use of
physiological and neurological measurement systems to the study of
marketing research questions. His research has been published in Journal
of Service Research, Journal of Business Venturing, Journal of Public
Policy and Marketing, the Journal of Advertising Research, Journal of
Business Logistics, and other leading marketing journals. He has presented
at a number of different conferences, including the American Marketing
Association and the Academy of Marketing Science.
After obtaining his master’s degree at West Virginia University,
George began his professional career working in college athletic
administration at the United States Military Academy at West Point, New
York. Following that, he spent nearly a decade working in a variety of
sales and sales management roles with several start-up ventures in the
software industry.
George currently lives in Germantown, Tennessee, with his wife,
Kristine. They have three children, Luke, Mark, and Koren.
 page viii

DEDICATION

To my wife, Jenifer, whose love, support, and friendship have

made my life better in every possible way. I am forever thankful
for the life we have built together.
Shane

To my parents, Edmund B. Mello and Arlene A. Arms, who were

teachers both inside and outside the classroom. Their examples
were an inspiration to me for embarking on my career as a
college professor, which is the best job in the world.
John

To my dad and mom, Jaye and Nikki, whose love, fun-loving

sense of adventure, and unwavering support continue to inspire
and guide me on my own journey. Thank you for being such
wonderful parents and grandparents.
George
 page ix

PREFACE
Hello, and welcome to Hunt, Mello, and Deitz’s Marketing 3e. Students,
particularly non-marketing majors, want to know, “Why does this course
matter to me?” We designed our product to emphasize the universal
importance of marketing . . . because everyone is a marketer.
We designed this product with an emphasis on student engagement and
relevance, a focus embodied in these four key benefits:

A career focus, to help students understand how marketing will

support whatever career path they choose and how to develop their
own personal brand.
Integration of key topics that are part of the daily fabric of
marketing—globalization, social media, ethics, and marketing
analytics.
Seamlessly integrated results-driven technology.
The right content for a semester-long course.

Career Focus
The goal of higher education for most students, whatever their major, is to
develop knowledge that can be put to use in productive careers. We’ve
included features that focus on careers:
Executive Perspective interviews illustrate the need for successful
leaders in any organization to be effective marketers. These
interviews represent a wide range of undergraduate majors, including
finance, engineering, operations, and accounting.
Today’s Professional interviews highlight young marketing
professionals who describe how developing their personal brand has
helped advance their careers.
 Career Tips offer chapter-related ideas that can help students
develop their own personal brand—a theme carried throughout.
In the Marketing Plan Exercise threaded throughout, students apply
the elements of a marketing plan in the context of marketing
themselves. This project brings a marketing plan to life in a way that
personally engages students.
New Marketing Insights Podcast Series featuring content from the
authors and executives profiles throughout the textbook.

Integration of Key Topics

Students won’t find “Ethics Tuesdays,” “Global Thursdays,” or “Social
Media Fridays” in their careers. Therefore, we chose to integrate the key
topics of ethics, globalization, social media, and marketing analytics into
chapter discussions where relevant. Integration of these four key topics
efficiently delivers a fully rounded, three-dimensional view of each
chapter topic, to help ensure that students are gaining sufficient knowledge
and skills in these essential aspects of marketing.

Results-Driven Technology
This product is “digital-first,” built from the ground up to integrate digital
content seamlessly. We wrote the narrative and the digital content
simultaneously, dovetailing print and digital delivery in McGraw-Hill’s
results-driven technology platform. The first edition leads the market with
digital activations delivered via our adaptive eBook, Smartbook. In the
third edition, we’ve added new exercises, videos, and video cases, page x
further enhancing the digital integration. The close linkage of
chapter content and Connect assignments allows students to practice how
to use classroom content to inform marketing decisions.

The Right Content

We designed our chapters to include the most valuable content for a
Principles of Marketing course. Chapters are direct, concise, and
approachable in length. We don’t overburden students (or instructors) with
content that is more appropriate in advanced marketing courses. The
chapters allow a bit of classroom “breathing time” for the discussions and
activities that bring marketing alive for you and your students.
In the third edition, we’ve changed the order of several chapters,
moving “Personal Selling” and “Branding” to earlier in the textbook.
McGraw-Hill Create enables you to arrange chapters in any sequence and
any number to best fit the goals and organization of your course.
In addition, we’ve used market feedback to revise the existing
chapters, as outlined in the section Chapter-by-Chapter Changes in the
Third Edition. Content changes in the third edition add increased depth or
breadth—more rigor where requested or fresh coverage of emerging areas
of importance to marketing theory and practice. As a learning sciences
company, McGraw-Hill Education uses data from both students and
instructors to inform revisions to both print and digital content.

“Because Everyone Is a Marketer . . .”

Our goal is to build the best-possible principles of marketing product—
one that captures the importance of marketing in a way that is relevant and
adaptable to today’s business students. Understanding and utilizing
marketing to improve for-profit businesses, nonprofit organizations, and
students’ career prospects are critical educational activities. These
activities are relevant to any student, regardless of his or her area of focus.
We have worked to produce an integrated print and digital experience that
will inspire students to explore and apply the marketing experiences they
need in order to leave your course prepared for future coursework and for
careers.
It is our sincere hope that Marketing 3e will engage your students and
demonstrate the universal importance of marketing . . . because everyone
is a marketer!

C. Shane Hunt
Arkansas State University

John E. Mello
Arkansas State University
George D. Deitz
University of Memphis
 page xi

FOR
INSTRUCTORS

You’re in the driver’s seat.

Want to build your own course? No problem. Prefer to use our turnkey, prebuilt course? Easy.
Want to make changes throughout the semester? Sure. And you’ll save time with Connect’s
auto-grading too.

65%
Less Time
Grading

They’ll thank you for it.

Adaptive study resources like SmartBook ® 2.0 help your students be better prepared in less
time. You can transform your class time from dull definitions to dynamic debates. Find out
more about the powerful personalized learning experience available in SmartBook 2.0 at
www.mheducation.com/highered/connect/smartbook
Laptop: McGraw-Hill; Woman/dog: George Doyle/Getty Images

Make it simple, make it affordable.

Connect makes it easy with seamless integration using any of the major Learning
Management Systems—Blackboard®, Canvas, and D2L, among others—to let you
organize your course in one convenient location. Give your students access to digital
materials at a discount with our inclusive access program. Ask your McGraw-Hill
representative for more information.

Padlock: Jobalou/Getty Images

Solutions for your challenges.

A product isn’t a solution. Real solutions are affordable, reliable, and come with training
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Checkmark: Jobalou/Getty Images

 page xii

FOR
STUDENTS

Effective, efficient studying.

Connect helps you be more productive with your study time and get better grades using tools
like SmartBook 2.0, which highlights key concepts and creates a personalized study plan.
Connect sets you up for success, so you walk into class with confidence and walk out with
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Study anytime, anywhere.

Download the free ReadAnywhere app and access your online eBook or SmartBook 2.0
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 - Jordan Cunningham, Eastern Washington University

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www.mheducation.com/about/accessibility for more information.

Top: Jenner Images/Getty Images, Left: Hero Images/Getty Images, Right: Hero Images/Getty Images
 page xiii

CHAPTER-BY-CHAPTER
CHANGES IN THE THIRD EDITION

The third edition’s revisions are driven by feedback from instructors and
students.

Overall
The “Personal Selling” chapter is now Chapter 9, immediately
following Chapter 8, “Promotional Strategies.”
New Marketing Insights Podcast Links in every chapter featuring the
textbook authors and several of the executives profiled.
New examples highlighting the role of marketing in a rapidly
changing world.
Four NEW video cases featuring dynamic organizations: National
Park Service, Hershey, State Farm, and Dell.

Chapter 1: Why Marketing Matters to You

New examples and discussion on the impact of social media on
modern marketing.
Replaced Figure 1.1, showing percentage of U.S. adults who use each
social networking site and percentage of U.S. adults who get news
from each social networking site.
Updated product examples, including Kay Jewelers’ marketing
efforts supporting St. Jude Children’s Research Hospital.
Updated global business/trade statistics.
New Executive Perspective profile.
New Today’s Professional profile.
Chapter 2: Strategic Planning
New Executive Perspective profile.
New ethical challenge focused on legalized sports gambling.
Expanded/updated McDonald’s example in internal and external
considerations of the SWOT analysis.
Updated data throughout the chapter including new presentation of
auto manufacturers’ market share (Figure 2.6).
New examples, including Disney’s diversification strategy.
New Today’s Professional profile.

Chapter 3: The Global Environment

Updated Figure 3.2 showing changes in average U.S. household
income over time.
New discussion on the marketing impact of Brexit.
Updated Figure 3.5 showing U.S. unemployment rate by education
level.
New discussion on marketing to Gen Zers.
New Today’s Professional profile.
New examples, including Amazon’s lobbying efforts and
pharmaceutical lobbying.

page xiv

Chapter 4: Consumer Behavior

New discussion of how marketers are using Instagram, Pinterest, and
other social media platforms to empower consumer information
search.
Revised section on individual influences on consumer decision
making, including introduction of the O-C-E-A-N personality model.
New examples throughout the chapter, including Ford’s use of social
media influencers in building awareness for its new subcompact
Fiesta line and Toyota’s “Start Your Impossible” campaign that
 highlighted real-life mobility stories of Olympic and Paralympic
athletes.
New Today’s Professional profile.

Chapter 5: Marketing Research

Bulleted Improved international marketing research section,
including new content on challenges that are specific to international
marketing research.
Updated section on automated facial coding in Neuromarketing
section.
New discussion on the Marketing Research Association’s (MRA)
updated Code of Marketing Research Standards.

Chapter 6: Product Development

Brand-new section on “design thinking” to the idea generation stage
of NPD.
New discussion on “crowdsourcing” in the idea screening stage of
NPD.
New examples and discussion of services, differentiating them from
products, and why this is important to the subject of NPD.
New Today’s Professional profile.

Chapter 7: Segmentation, Targeting, and Positioning

Updated Table 7.1, 10 largest U.S. metropolitan areas.
New Executive Perspective profile.
Expanded discussion of target market analytics.
New examples, including how Elmer’s Glue is marketing to the
growing number of consumers who enjoy making slime.

Chapter 8: Promotional Strategies

New Executive Perspective profile.
Expanded coverage of changes in advertising.
 Updated Figure 8.2 showing the percentage share of global
advertising expenditure by medium.
New Today’s Professional profile.
New examples throughout, including the impact of Instagram on
organizations’ promotional strategies.

Chapter 9: Personal Selling

Updated content on sales technology and social selling, including a
new feature on the use of artificial intelligence (AI) in sales.
Introduced Sales and Marketing Executives International (SMEI)
code of ethical sales conduct.
Formerly Chapter 12.
page xv
Added a new section on sales force strategy, design, and
evaluation.
New Today’s Professional profile.

Chapter 10: Supply Chain and Logistics Management

New discussion of the role of information technology in enabling
supply chain processes.
New examples and expanded content on the concept of
“omnichannels” in the discussion of channels of distribution options
for companies.
Increased emphasis on the learning objectives of this chapter being
tied into meeting customer needs.
New Today’s Professional profile.
Formerly Chapter 9.

Chapter 11: Pricing

New Today’s Professional profile.
New discussion of shrinkflation, which is the process of items
shrinking in size or quantity while their prices remain the same or
increase.
 Expanded discussion on the marketing impact of recent tariffs.
New examples, including a discussion of Coke’s introduction and
pricing of 8.5-ounce bottles.
Formerly Chapter 10.

Chapter 12: Retailing

New and improved section on twenty-first-century retailing, with
new content and examples of retail technology, including retail
applications of technology such as artificial intelligence (AI), voice-
activated search, geofencing, and VR/AR.
Expanded section introducing students to career opportunities in
retail management.
A more streamlined discussion of physical-store retailer types with
key examples.
Extensive new discussion of Amazon’s strategy in the online retail
section.
Formerly Chapter 11.

Chapter 13: Digital and Social Media Marketing

Digital and social media marketing practices are fast-paced and
constantly changing. We’ve updated content and examples
throughout the chapter.
New and improved social media marketing section, with special
features on how managers at LEGO and Blenders Eyewear are
utilizing social media marketing as a key element to their marketing
strategies.
A brand-new section on ethical issues and best practices for
digital/social media marketing.
New Executive Perspective profile.

Chapter 14: Branding

Was Chapter 15 in second edition.
New Executive Perspective profile featuring a brand manager.
 Expanded discussion of the role of social media in branding.
page xvi
Added discussion on UTM Parameters and Hootsuite
Impact as social media monitoring tools.
Updated Table 14.2, the top-10 most valuable global brands, and
Table 14.3, the most valuable nonprofit brands.
New Today’s Professional profile.

Chapter 15: Customer Relationship Management

Brand-new section on the GAP Model and its use in addressing
customer needs.
New discussion on the concept of Net Promoter Score as a method of
gauging how effectively a company is in providing customer
satisfaction.
New Today’s Professional profile.

Chapter 16: Social Responsibility and Sustainability

New discussion on ethical and marketing challenges surrounding the
Volkswagen emissions scandal.
New Today’s Professional profile.
Expanded discussion of sustainable tourism.
New examples, including Royal Caribbean Cruise Lines, which
requires that all the operators of its shore excursions be certified to
meet sustainability targets.
 page xvii

ACKNOWLEDGMENTS
We are deeply indebted to the many marketing scholars and instructors,
business leaders and professionals, and colleagues and friends who have
contributed their time, ideas, and insights to the development of this
product. We appreciate your help and your shared passion for maximizing
the educational experience of our students and future leaders.

Special Thanks to Our Reviewers

Reviewers who provided feedback that was essential to the development of
the third edition and previous editions include:

Praveen Aggarwal,
University of Minnesota, Duluth

Raj Agnihotri,
University of Texas at Arlington

Bob Ahuja,
Xavier University

Mary Albrecht,
Maryville University

Keanon Alderson,
California Baptist University

Elizabeth C. Alexander,
Marshall University

Charlotte Allen,
Stephen F. Austin State University
Daniel Allen,
Utah State University

Elsa Anaya,
Alamo Colleges, Palo Alto College

Cynthia Anderson,
Youngstown State University

Christopher Anicich,
California State University, Fullerton

Maria Aria,
Camden County College

Timothy W. Aurand,
Northern Illinois University

Joe K. Ballenger,
Stephen F. Austin State University

Soumava Bandyopadhyay,
Lamar University

Christine Barnes,
Lakeland Community College

Jennifer Barr,
Richard Stockton College of New Jersey

Arne Baruca,
Sacred Heart University

George Bass,
Kennesaw State University

Charles Beem,
Bucks County Community College
Robert Belenger,
Bristol Community College

Frank Benna,
Raritan Valley Community College

George H. Bernard,
Seminole State College of Florida

Stephen Berry,
Anne Arundel Community College

Tom Bilyeu,
Southwestern Illinois College

Nicholas Bosco,
Suffolk County Community College

David Bourff,
Boise State University

Michael Brady,
Florida State University

Cheryl O’Meara Brown,

University of West Georgia

Kendrick Brunson,
Liberty University

Gary Brunswick,
Northern Michigan University

Kent Byus,
Texas A&M University, Corpus Christi

Kimberly Cade,
Houston Community College, Central
Kerri M. Camp,
University of Texas at Tyler

Amy Caponetti,
Pellissippi State Community College

Carla Cardellio,
Schoolcraft College

Deborah Carter,
Coahoma Community College

Eric Carter,
California State University, Bakersfield

Debi Cartwright,
Truman State University

Gerald Cavallo,
Fairfield University

Anindya Chatterjee,
Slippery Rock University

Ruth Chavez,
Metropolitan State University of Denver

Piotr Chelminski,
Providence College

Haozhe Chen,
East Carolina University

Lisa Cherivtch,
Oakton Community College

Jerome Christia,
Coastal Carolina University
Christina Chung,
Ramapo College of New Jersey

Janet Ciccarelli,
Herkimer County Community College

Dorene Ciletti,
Duquesne University

Paul Clark,
Coastal Carolina University

Reid Claxton,
East Carolina University

page xviii

Steven Clinton,
Robert Morris University

Kyle Coble,
Lindenwood University

Gloria Cockerell,
Collin College

Kesha Coker,
Eastern Illinois University

Margy Conchar,
East Carolina University

Francisco Conejo,
University of Colorado, Denver

Mary Conran,
Temple University

Barbara T. Conte,
Florida Atlantic University

Laurel Cook,
West Virginia University

Richard Cooper,
Lindenwood University

Tracy Cosenza,
University of Memphis

Ian Cross,
Bentley University

Anna Crowe,
University of San Diego

Brent J. Cunningham,
Jacksonville State University

Mayukh Dass,
Texas Tech University

De’Amo De’Armond,
West Texas A&M University

Larry Degaris,
University of Indianapolis

Beth Deinert,
Southeast Community College

George Deitz,
University of Memphis

Duleep Delpechitre,
University of Louisiana, Lafayette

John Depies,
University of Wisconsin, Oshkosh

Chandan DeSarkar,
SUNY, University of Albany

Paul Dion,
Susquehanna University

Kim Donahue,
Indiana University Kelley School of Business, Indianapolis

Beibei Dong,
Lehigh University

Mary Anne Doty,

Texas A&M Commerce

Kathy Dougherty,
Maryville University

Howard Dover,
Salisbury University

Lawrence Duke,
Drexel University

Gregory Dumont,
University of Akron

Stu Dunlop,
Missouri Southern State
University

Jill Dybus,
Oakton Community College

Judy Eberhart,
Lindenwood University
Another random document with
no related content on Scribd:
The Project Gutenberg eBook of The soul of the
moving picture
 This ebook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this ebook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.

Title: The soul of the moving picture

Author: Walter Julius Bloem

Translator: Allen Wilson Porterfield

Release date: February 26, 2024 [eBook #73028]

Language: English

Original publication: New York: E. P. Dutton & Company, 1924

*** START OF THE PROJECT GUTENBERG EBOOK THE SOUL

OF THE MOVING PICTURE ***
 Transcriber’s Notes
New original cover art included with this eBook is granted to the public domain.
Other notes may be found at the end of this eBook.
Scene from The Nibelungs.
[See p. 93]
T H E S OU L OF T H E
M OV I N G P I C T U R E
BY
WALTER S. BLOEM
AUTHORIZED TRANSLATION FROM THE GERMAN
BY
ALLEN W. PORTERFIELD

NEW YORK
E. P. DUTTON & COMPANY
681 Fifth Avenue
 Copyright, 1924
By E. P. Dutton & Company
All Rights Reserved

PRINTED IN THE UNITED

STATES OF AMERICA
 CONTENTS

PAGE
Introduction ix
CHAPTER

I. Tools of the Trade 1

II. Texts 19
III. Tricks 32
IV. The Scene 40
V. The Setting 72
VI. The Poet 95
VII. The Compass of Poetry 110
VIII. Film Adaptation 144
IX. The Path to Art 153
 LIST OF ILLUSTRATIONS

SCENE FROM
The Nibelungs Frontispiece
FIGURE FACING PAGE
1 The Cabinet of Dr. Caligari 6
2 The Cabinet of Dr. Caligari 14
3 The Stone Rider 20
4 The Stone Rider 28
5 The Nibelungs 34
6 Destiny 42
7 The Children of Darkness 48
8 Algol 60
9 Dr. Mabuse: The Great Unknown 64
10 Golem 70
11 Golem 78
12 Destiny 84
13 Sumurun 100
14 Madame Dubarry 108
15 Anne Boleyn 114
16 Dr. Mabuse: The Great Unknown 122
17 A Doll’s House 130
18 Vögelöd Castle 138
19 Destiny 146
20 The Nibelungs 152
21 The Nibelungs 160
 INTRODUCTION
The influence of the moving picture on the souls of the various
peoples of the earth has become so great that an attitude of
indifference toward this marvelous invention is no longer permissible.
We see ourselves forced to take a definite stand for it or against it;
we are obliged to line up as friend or foe of the film. It is, however, no
longer sufficient to oppose the moving picture in a spirit of indulgent
contempt or fanatic hostility. All the world knows that there are more
bad moving pictures than good ones, and that the moral and
aesthetic tendency of a great many films is of a quite negligible
nature. But if the moving picture were in reality the offspring of the
Devil, as many theologians and academic demi-gods the world over
contend, thinking people would be at once confronted with this
insoluble problem: How does it come that thousands upon
thousands of human beings scattered over the earth are laboring,
with intense resignation and passionate zeal, to the end that the film
may be made more perfect artistically and cleaner from a purely
moral point of view? The striving after money has naturally
something to do with their efforts. To offer this, however, as a final
explanation of this unusual situation would be an idle method of
reasoning. You cannot explain the joy these men are taking in their
creative efforts in this way, for their souls are in their work.
To many thinking people, the real nature of the moving picture is
wrapped in mystery; it is a brilliant and enigmatic riddle to them.
They recognize, though they fail to comprehend, the fact that the
moving picture, despised without restraint and condemned on
general principles only the other day, has won an incomparable
victory over the hearts of men—a victory, too, that will be all the
greater and more beautiful once the psychic and moral perfection of
the moving picture has been accomplished.
 The cultured man has an instinctive hatred of forces the
significance of which lie beyond his grasp; he makes every
conceivable effort to defend himself against them, to ward them off.
But the people, the masses, throw themselves into the arms of such
forces blindly and without question. The number of cultured men,
however, who are going over to the camp of the moving picture—
without thereby becoming disloyal to the other arts—is growing daily.
Even those sworn and confirmed skeptics who still look down upon
the film from the heights of their intellectual superiority with
superciliousness and contempt are bound to admit that there is
something between the pictures which has a magic power to draw,
which exercises an ineluctable influence in the gaining of recruits.

The moving picture is an art based on feeling, and not on thought.

It has to do with the emotions rather than with the intellect. The man
who goes to the moving picture wants to experience certain
incidents, not by thinking about them, but by feeling them. Just as
music arouses the feelings through tones, just so does the moving
picture attempt to solve, not the riddle of the human brain, but of the
human soul. A moving picture is a feeling expressed through
gestures.
There is still much about this youthful art that is altogether
misunderstood. Its real sources, the fountains of its life, are
suspected, foreboded by only a few; nor are they recognized, when
seen, by all. Nearly every visit to a motion picture theatre is a
disappointment; the must of the grape is still carrying-on in a really
absurd fashion.
The motion picture, however, is marching straight ahead in a
course of unmistakable and wonderful development toward the
heights of victory. And this development, this evolution, has to do not
merely with the perfecting of the art itself, but with the enjoyment that
is derivable and derived from the art. Our eyes are becoming keener
in the detection of gestures and mimicry; our imaginations are
growing sharper, even clairvoyant; they are rapidly becoming able to
read the language of pictures and movement. When the motion
picture was still in its infancy, its actors assumed and employed the
shrill and tinny pathos of the pantomime. At that time, and it was not
long ago, the lovely and mutely passionate world of gesture was
unknown to us. We saw it, to be sure, in the dance, but we were still
incapable of interpreting it. To-day we feel, detect, see some sort of
inner vibration behind the slightest movement.
In the other arts, in the old and tried arts, those that have already
been developed to a high stage of perfection, if not actually over-
developed, progress, if made at all, must be made with the
expenditure of tremendous effort; it must be wrung from the depths,
as it were. In the moving picture, on the other hand, a thousand
possibilities still lie quite on the surface, ready, indeed longing, for
fulfilment. The great creator can think, feel, and dream new and
novel features without falling into despair at the thought of what has
already been done. Becoming mindful of the past is not a painful
occupation for him. Indeed, the motion picture may be compared to a
starry heaven that stretches out before our upturned eyes, awaiting
the creative ken of the celestial investigator.

Every attempt, however, of the exuberant creator, filled with the

urge for deeds, to perform aesthetic experiments on the motion
picture avenges itself; such experiments cannot be carried out with
impunity. For the applause of a small circle of the elect is not going
to prevent bankruptcy on the part of the film company that supports
these experiments. Film art without economic success is quite
unthinkable.
Germany, the land of theory, experienced a short while ago a
veritable flood of aesthetic experiments in the domain of the moving
picture. Of these, there was but one, The Cabinet of Dr. Caligari,
which provided its creators with the satisfaction that comes from a
pronounced success in foreign countries. And even in this case the
success was due to the peculiarity of certain means that had
heretofore never been seen on the screen. The American has too
much appreciation of this world, and too little sense for the world
beyond, to grow enthusiastic about phantoms or nebulous
adventures. Nor is he weighed down with the traditions that reach
back through centuries of time and constitute so much impedimenta
on the part of European artists. And the Swede is too intimately
associated with the mother-earth of his home ever to undertake a
flight to the clouds through the medium of the motion picture. But the
Swede and the German reached the point where they saw that you
have got to speak a language, in the film, which can be understood
by men wherever they chance to live.
A work, let it be ever so artistic and valuable in itself, which brings
economic distress to the film company that produces it, harms
indirectly the entire film business as an art. That film artist attains to
the complete realization of his desires whose creations put money
into the purse of the company; the one who does not do this fails in
the end. The task of the film artist is always and ever: To effect a
happy union between art and business. Moreover, this union must be
brought about in such a way that both—art and business—flourish.
The man who cannot do this merely drives the film companies on to
the production of cheap and cheapening pictures which draw the
masses and pay a reasonable dividend, but nothing more. For the
film companies of this earth are and remain, first of all, business
concerns that must pay. Film art is expensive, and no gratuitous
distributor of private funds is going to give one penny which will not
bear him interest. If there be anyone so blind as not to be able to
grasp this simple principle, he is unable to grasp the underlying
principle of the motion picture as an art. To fail to recognize
commercial success as the basic condition on which film art rests is
to call down upon one’s head the irritation that ensues from
ineffectual grumbling. Consequently, the much lauded redeemer of
the film will be he, and he only, who can create what is at once of
enduring artistic value and financial potentiality.
And every film will have this artistic and commercial success
which glows with real passion because it has been wrung from
powerful feeling. The art, the very soul of the motion picture,
cherishes no desire for subtle, intellectual form or forms. It longs,
indeed, for a soul form of elementary force.
 This is true, for the unique though inexhaustible domain of the
motion picture is the eternal feelings of man, the initial and primeval
feelings that rise from out of the senses and mount to the soul. Love
or hate, and the joy, sorrow, grief, hope, lamentation and good
fortune that emanate from these two—it is with these that the film
has to do. It has to do with nothing that comes rigidly from the
intellect—or exclusively from the soul itself. In the moving picture
everything becomes pale and colorless which is not born of the
1
sensual emotions. Every art seeks its way to the soul. Sensuality
and soul, that is the moving picture. There is only one eternal,
immutable, and never-failing material for the film: it is the passion of
the soul.
1
There is no word that occurs more frequently in this book than sinnlich, or the
noun derived from it, Sinnlichkeit. Throughout, the former is rendered by “sensual,”
the latter by “sensuality.” Neither of these words has here the connotation that is
ordinarily attached to it: “Sensual” means nothing more than relating to the senses;
and “Sensuality” is the noun form and means nothing more than the composite
result of our being “sensual.” We have, as a matter of fact, five “senses.” The
German for “sense” is Sinn. Consequently, sinnlich has reference to our capacity
for sensations, our sensibility. The words might have been translated in a variety of
ways. I might have commandeered such terms as “sentient,” “sensory,”
“susceptible to sense experiences,” and so on. Such variety would have been,
probably, in the interest of seeming erudition, which leaves me cold, or in the
interest of pedagogy which, so long as I remain normal, no man can ever
persuade me to study. —Translator.

Thought and intellect are given an intelligent welcome by but very

few people. Were it not for the herd and hypocrisy, poetry would be
unread and the stage would be a temple of the lonely and isolated. Is
Shakespeare or Goethe really understood by the masses?
The senescent stage is the counterpart of the goal of our
civilization, which is the thought that can be felt, the idea that can be
filled with soul. It is for this reason that we have to-day, more than
ever, the spiritual stage.
Art based on emotions is art for the masses. The youthful motion
picture is the counterpart of the origin of our nature, which is the
sensuality that can be felt and filled with soul. It is for this reason that
we have to-day the sensual, the sensuous, moving picture.
There are limits to feelings. For we live in an age that demands
crystal clarity and coy niceness. The limp, flabby and effeminate we
dislike. No age was less naïve than ours, and yet none was less
sentimental.
The motion picture is art for the masses; it is mass art.
Sectarianism, chilly aestheticism, attempts at escape from
inadequate culture—these are not known to the motion picture. Art
for the masses, art for the money. That is the entire story. But does
art for the masses mean art such as the masses themselves would
create? Rabble art? The film in which the plebeian soul alone takes
interest and from which it derives pleasure is not a good film. Nor is
that a good film which is understood only by the aesthetic soul. To be
good, satisfactory, excellent, a film must carry along with it and
enrapture all, those whose hearts are simple and those whose
hearts are intricate, complex, full of intertwined sensations. To do this
is hard. If and when done, it is done through the medium of great art.

This book was written by a man who writes scenarios. It is not

beyond reason to believe that such a book could have been written
only in Germany, where one, in matters of art, not infrequently
forgets the action out of an all-absorbing interest in meditation. It
arose from an inner desire, from an inner exertion: I wished to
become clear, for the benefit of my own manuscripts and using them
as a basis, as to how a film should be constructed so that art and
profit, which are inseparable in this field, might get along with each
other; might endure mutual juxtaposition. And I wished to give other
people the benefit of my views.
I have devoted my attention mainly to those motion pictures that
have been most readily accessible to my fellow-countrymen and, to
me. In other words, I have discussed German films. The time at
which my wounded and bleeding country will again take its place
among the happy and prosperous nations of the earth is still remote.
Moreover, it is only in rare instances that the best films of foreign
lands are shown in our theaters. The taste, however, in the matter of
the moving picture is virtually the same among white people the
world over, and we are all striving, even competing, for the identical
goal—to please.
I am quite mindful of the fact that a purely theoretical discussion
has its limitations in value. Every personal opinion is one-sided, and
no sooner has the connoisseur found his way than he throws the
views of others overboard and proceeds on his course just as if he
had never heard of them. Nevertheless, the motion film of all lands,
whether it be American or European, makes its appeal to human
beings every one of whom has two eyes in his head and a heart in
his breast. Nor is this all. Every individual man, wherever he may
chance to live or whatever his origin may be, has one fundamental
ambition, one basic goal: joy, beauty, adventure. Perhaps I have
succeeded in saying a few things regarding the general nature of the
motion picture which may be helpful by way of showing how a
successful picture is built up and produced. If I may be permitted to
do so, I should like to express the hope that I have made a few
suggestions of enduring value, even and also to those across the
Atlantic. Nor is it judicious to overlook the fact that an idea is by no
means worthless when it incites to contradiction or refutal.
The smallest creation is more valuable than the most beautiful
book of discussion. It is always permissible, however, to form certain
ideas regarding one’s own creations, and to discuss these ideas in a
theoretical way. The one point to be kept in mind in this connection
is, that we must never regard such discussion as the formulation of
definitive and irrefutable opinions; a treatise of this kind dare not lay
down an inelastic law for the film of the future. Limitations dare not
be placed on the free creative ability of the mind and the soul. A real
creator can break the chains of theory easily and without notice. For
him there is but one rule that always holds: Do your work well, and
then you need not pay the slightest attention to the law as this is
handed down.
W. S. B.
Burg Rienick.
In the Summer of 1923.