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movements to, and away from, those climaxes. He sits among miles of films which he cuts, joins, runs through his projecting machine, and cuts and joins again. He knows that pictorial beauty does not come to the screen merely because the camera itself is a wonderful instrument. He knows, what so many critics are beginning to discover, that "the photography" may be excellent in a film, while its pictorial composition is atrocious. He knows first and last and always that, unless he makes his photoplay fundamentally pleasing to the eyes of the spectator, he can never give it the magic power of graphic art.
