Tales from a Scenic Artist and Scholar. Part 1019 – John H. Kunsky’s and “What is the Moving Picture?”

Copyright © 2020 by Wendy Waszut-Barrett

John H. Kunsky had made his fortune investing in movie houses.

John H. Kunsky

In 1950, George W. Trendle recalled that the Kunsky Theatre Circuit had 16 movie houses in Detroit by 1929. It was that year that that Trendle and Kunsky sold to Paramount (Daily News, NY, 5 March 1950, page 562).

In 1922, the “Washington Times” published a definition by John H. Kunsky for the query, “What is the Moving Picture” (Washington, D.C., 13 Feb 1922, page 16). Kunsky had a vested interest in selling the purported benefits of moving pictures. This is such a wonderful example of how the world of entertainment was changing and how silent movies were perceived by the American populace.

“The newest thing of great importance in the world is the MOVING PICTURE. It offers the most direct road into the human brain and thought. What it IS, what it DOES, what it is DESTINED to be – all those questions important to everybody interested not merely in moving pictures, but in EDUCATION and in the human race of the future.

Some will say that the moving picture does instantaneously what the spoken or written word does slowly. Others will say that it is actual presentation of life and emotion before the very eye of the beholder.

A very good definition of the moving picture, as you will agree, is given by John H. Kunsky who has just built the Capitol Theater in Detroit, one of the most magnificent theaters anywhere. Writing for the Detroit Times, Mr. Kunsky says:

WHAT A THEATRE DOES.

By John H. Kunsky.

Throughout history the human race, worried with its problem and its struggles for life, has sought relaxation, a change in the mind’s work that means rest for the brain. The Greeks had their public baths, in which they met and talked; their public squares, their famous philosophical promenades.

The fighting Romans had their great arenas, in which men and beasts, and even ships on real water, fought to amuse the mob.

In the middle ages they had bear-baiting, their dog fights.

The Spaniards still have their bull fights.

The Americas, as a nation, far removed from the brutality of the gladiatorial arena, or the bill rig, find their mental rest and their mental pleasure in the theater. And in the modern theater and its work you find reflected the national personality, its interest, its culture.

WHAT IS THE MOVING PICTURE?

The question is not asked now as it once was when men doubted whether ‘the movies,’ so called would last.

The moving picture is SIMPLY THE SHORTEST ROAD INTO THE HUMAN BRAIN.

It enables the actor to display all of his skill, and the spectator instantly can see all that the story has to tell.

You can do with the moving pictures all that can be done by the living actor, and a thousand times more.

If you say that the voice of the living actor is missing from moving picture, I will admit it, and regret it. But I will answer that the absence of the actor’s voice increases the activity of the spectator’s imagination, and the work that goes on inside the mind of the spectator’s imagination, and the work that goes on inside the mind of the spectator is worth infinitely more that the spoken word of any living actor.

To arouse thought, stimulate the imagination, transport vast audiences as by magic, to all parts of the world, is a great, useful and education work. And that is what the moving picture does. An entire week of work by living actor and of close attention by spectators could not show as much as can be shown by the moving picture in two short hours.

Gigantic crowds of thousands such as no stage on earth could possibly hold are shown and brought before crowds in absolute reality on the screen.

The moving picture is a great educator, and no man can say what good is done to this and to other nations in which the moving pictures with its dramatic story is part, as it were, of the daily mental diet.”

To be continued…

Author: waszut_barrett@me.com

Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.

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