ity of the men who readapted the tradition for western
consumption, and their religious attitude that kept the high teaching and
devout feeling for human life intact in the play. Then the zeal of the
Drama League that indorsed it for the country. Then the earnest work of
the Coburn Players who embodied it devoutly, so that the whole company
became dear friends forever.

By some such ladder of conscience as this can the local scenario be
endowed, written, acted, filmed, and made a real part of the community
life. The Yellow Jacket was a drama, not a photoplay. This chapter does
not urge that it be readapted for a photoplay in San Francisco or
anywhere else. But a kindred painting-in-motion, something as beautiful
and worthy and intimate, in strictly photoplay terms, might well be the
flower of the work of the local groups of film actors.

Harriet Monroe's magazine, "Poetry" (Chicago), has given us a new sect,
the Imagists:--Ezra Pound, Richard Aldington, John Gould Fletcher, Amy
Lowell, F.S. Flint, D.H. Lawrence, and others. They are gathering
followers and imitators. To these followers I would say: the Imagist
impulse need not be confined to verse. Why would you be imitators of
these leaders when you might be creators in a new medium? There is a
clear parallelism between their point of view in verse and the
Intimate-and-friendly Photoplay, especially when it is developed from the
standpoint of the last part of chapter nine, _space measured without
sound plus time measured without sound_.

There is no clan to-day more purely devoted to art for art's sake than
the Imagist clan. An Imagist film would offer a noble challenge to the
overstrained emotion, the over-loaded splendor, the mere repetition of
what are at present the finest photoplays. Now even the masterpieces are
incontinent. Except for some of the old one-reel Biographs of Griffith's
beginning, there is nothing of Doric restraint from the best to the
worst. Read some of the poems of the people listed above, then imagine
the same moods in the films. Imagist photoplays would be Japanese prints
taking on life, animated Japanese paintings, Pompeian mosaics in
kaleidoscopic but logical succession, Beardsley drawings made into actors
and scenery, Greek vase-paintings in motion.

Scarcely a photoplay but hints at the Imagists in one scene. Then the
illusion is lost in the next turn of the reel. Perhaps it would be a
sound observance to confine this form of motion pic