Later come the pictures of the rioting negroes in the streets of the Southern town, mobs splendidly handled, tossing wildly and rhythmically like the sea. Then is delineated the rise of the Ku Klux Klan, of which we have already spoken. For comment on the musical accompaniment to The Birth of a Nation, read the fourteenth chapter entitled "The Orchestra, Conversation and the Censorship." In the future development of motion pictures mob-movements of anger and joy will go through fanatical and provincial whirlwinds into great national movements of anger and joy. A book by Gerald Stanley Lee that has a score of future scenarios in it, a book that might well be dipped into by the reader before he goes to such a play as The Italian or The Battle, is the work which bears the title of this chapter: "Crowds." Mr. Lee is far from infallible in his remedies for factory and industrial relations. But in sensitiveness to the flowing street of humanity he is indeed a man. Listen to the names of some of the divisions of his book: "Crowds and Machines; Letting the Crowds be Good; Letting the Crowds be Beautiful; Crowds and Heroes; Where are we Going? The Crowd Scare; The Strike, an Invention for making Crowds Think; The Crowd's Imagination about People; Speaking as One of the Crowd; Touching the Imagination of Crowds." Films in the spirit of these titles would help to make world-voters of us all. The World State is indeed far away. But as we peer into the Mirror Screen some of us dare to look forward to the time when the pouring streets of men will become sacred in each other's eyes, in pictures and in fact. A further discussion of this theme on other planes will be found in the eleventh chapter, entitled "Architecture-in-Motion," and the fifteenth chapter, entitled "The Substitute for the Saloon." CHAPTER VI PATRIOTIC SPLENDOR The Patriotic Picture need not necessarily be in terms of splendor. It generally is. Beginning the chronicle is one that waves no banners. The Typhoon, a film produced by Thomas H. Ince, is a story of the Japanese love of Nippon in which a very little of the landscape of the nation is shown, and that in the beginning. The hero (acted by Sessue Hayakawa), living in the heart of Paris, represents the far-off Empire. He is making a secret military report. He is a responsible member of a colony of Japanese gentlemen. The bevy of them appear before or after his every important action. He still represents this crowd when alone. The unfortunate Parisian heroine, unable to fathom the mystery of the fanatical hearts of the colony, ventures to think that her love for the Japanese hero and his equally great devotion to her is the important human relation on the horizon. She flouts his obscure work, pits her charms against it. In the end there is a quarrel. The irresistible meets the immovable, and in madness or half by accident, he kills the girl.