And obviously the Splendor Pictures are the equivalent of the epic.
But perhaps the most adequate way of showing the meaning of this outline is to say that the Action Film is sculpture-in-motion, the Intimate Photoplay is painting-in-motion, and the Fairy Pageant, along with the rest of the Splendor Pictures, may be described as architecture-in-motion.
This chapter will discuss the bearing of the phrase sculpture-in-motion.
It will relate directly to chapter two.
First, gentle and kindly reader, let us discuss sculpture in its most literal sense: after that, less realistically, but perhaps more adequately.

Let us begin with Annette Kellerman in Neptune's Daughter.
This film has a crude plot constructed to show off Annette's various athletic resources.

It is good photography, and a big idea so far as the swimming episodes are concerned.

An artist haunted by picture-conceptions equivalent to the musical thoughts back of Wagner's Rhine-maidens could have made of Annette, in her mermaid's dress, a notable figure.

Or a story akin to the mermaid tale of Hans Christian Andersen, or Matthew Arnold's poem of the forsaken merman, could have made this picturesque witch of the salt water truly significant, and still retained the most beautiful parts of the photoplay as it was exhibited.