olumbia University School of Journalism, in his classes in
photoplay writing. I was invited several times to address those classes
on my yearly visits to New York. I have addressed many other academic
classes, the invitation being based on this book. Now I realize that
those who approach the theory from the general University standpoint, or
from the history of the drama, had best begin with Freeburg's book, for
he is not only learned in both matters, but presents the special
analogies with skill. Freeburg has an excellent education in the history
of music, and some of the happiest passages in his work relate the
photoplay to the musical theory of the world, as my book relates it to
the general Art Museum point of view of the world. Emphatically, my book
belongs in the Art Institutes as a beginning, or in such religious and
civic bodies as think architecturally. From there it must work its way
out. Of course those bodies touch on a thousand others.

The work is being used as one basis of the campaign for the New Denver
Art Museum, and I like to tell the story of how George W. Eggers of
Denver first began to apply the book when the Director of the Art
Institute, Chicago, that it may not seem to the merely University type of
mind a work of lost abstractions. One of the most gratifying recognitions
I ever received was the invitation to talk on the films in Fullerton
Hall, Chicago Art Institute. Then there came invitations to speak at
Chicago University, and before the Fortnightly Club, Chicago, all around
1916-17. One difficulty was getting the film to _prove_ my case from out
the commercial whirl. I talked at these three and other places, but
hardly knew how to go about crossing the commercial bridge. At last, with
the cooperation of Director Eggers, we staged, in the sacred precincts of
Fullerton Hall, Mae Marsh in The Wild Girl of the Sierras. The film was
in battered condition, and was turned so fast I could not talk with it
satisfactorily and fulfil the well-known principles of chapter fourteen.
But at least I had converted one Art Institute Director to the idea that
an ex-student of the Institute could not only write a book about
painting-in-motion, but the painting could be shown in an Art Museum as
promise of greater things in this world. It took a deal of will and
breaking of precedent, on the part of all concerned, to show this film,
The Wild Girl of the Sierras, and I retired from the field a long time.
But now th