of chapter two. The Photoplay of Action. Like the Action Film, this
aspect of composition is much better understood by the commercial people
than some other sides of the art. Some of the best of the William S. Hart
productions show appreciation of this quality by the director, the
photographer, and the public. Not only is the man but the horse allowed
to be moving bronze, and not mere cowboy pasteboard. Many of the pictures
of Charles Ray make the hero quite a bronze-looking sculpturesque person,
despite his yokel raiment.