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The Sociology Project: Introducing the Sociological Imagination
Manza, The Sociology Project 2.0, Test Bank

Chapter 9 Cities and Communities
Multiple-Choice Questions
Our world is becoming __________.

a. decreasingly suburbanized
b. decreasingly urbanized
c. increasingly urbanized
d. increasingly conurbanized
Answer: c
Source ID: TB MC 8.4
Test Bank Item Title: TB_Q9.1.1
Learning Objective: LO 9.1.1: Identify the major forces that have led to urbanization.
Topic: What Draws People to Cities?
Difficulty Level: Easy
Skill Level: Remember the Facts
According to demographer Kingsley Davis, in the modern world, the process of urbanization follows a(n)
__________.
a. bell-shaped curve
b. circular function
c. S curve
d. straight line
Answer: c
Before the emergence of widespread industry, the pace of urbanization was __________.
a. virtually nonexistent
b. slow and gradual
c. level
d. rapid and steep
Answer: b
Difficulty Level: Moderate
Skill Level: Understand the Concepts
After cities reach their carrying capacity, the demand for labor __________ and the cost of urban space
__________.
Copyright © 2016, 2013 by Pearson Education, Inc. All rights reserved.

a. escalates; subsides
b. escalates; also escalates
c. subsides; escalates
d. subsides; also subsides
Answer: c
Cities first arose over __________ years ago.

a. 5,000
b. 7,500
c. 8,500
d. 10,000
Answer: a
Before industrialization, daily life for the vast majority of people focused on __________.
a. travel and trade
b. cottage industry
c. mining
d. immediate sustenance
Answer: d
The main cause of population growth in cities in the nineteenth century was __________.
a. increasing life expectancy
b. increasing numbers of births
c. migration
d. higher wages
Answer: c


What is the Great Migration?

a. the movement of African Americans from the rural South to industrial cities of the North
b. the movement of Latinos from Central and South America to the American Southwest
c. the movement of Mormons to present-day Utah
d. the movement of European Jews to Palestine in the 1920s
Answer: a
Learning Objective: LO 9.4.1: Identify changes that have contributed to concentrated poverty in
neighborhoods in the United States.
Topic: Why Are So Many Social Problems Found in Cities?
Dallas/Fort Worth is an example of an urban form known as a __________.

a. biurb
b. megaurb
c. polyurb
d. conurb
Answer: d
Learning Objective: LO 9.1.2: Identify the urban and suburban forms that emerged during the twentieth
century.
__________ is classified as a megacity because its population exceeds __________.

a. Denver; 1 million
b. Jacksonville; 2 million
c. Houston; 5 million
d. Lagos; 10 million
Answer: d
century.
How did government policies contribute to the preferential treatment of whites in the suburban housing
market after World War II?
a. Loans for homes in racially homogeneous white neighborhoods were typically redlined.

b. Loans for homes in primarily black neighborhoods were typically rated higher than loans for
homes in racially mixed neighborhoods.
c. Loans for homes in racially mixed neighborhoods were typically rated higher than loans for
homes in primarily black neighborhoods.
d. Loans for homes in racially homogeneous white neighborhoods were typically rated higher than
loans for homes in primarily black or in racially mixed neighborhoods.
Answer: d
century.
Difficulty Level: Difficult
Skill Level: Analyze It
Edge cities have developed as suburban counterparts to __________.

a. the traditional downtown areas of large central cities
b. the traditional factory zones of large central cities
c. the traditional transitional zones of large central cities
d. the tradition bedroom communities of large central cities
Answer: a
century.
Over the past several decades, __________ have been the fastest growing ethnic groups in rural
America.
a. Asians and Latinos
b. Asians and African Americans
c. African Americans and Latinos
d. Latinos and whites
Answer: a
century.
An influential group of sociologists who used the city of Chicago as a laboratory for the study of
urbanism is known as the __________.
a. Chicago Eight
b. Chicago Federation

c. Chicago School
d. Chicago Urbanists
Answer: c
Learning Objective: LO 9.2.1: Define urban ecology and discuss the central questions confronted by the
Chicago School.
Topic: How Do Neighborhoods Form and Change?
Urban ecology, a sociological perspective on how neighborhoods form and change, famously borrows
ideas from what other academic discipline?
a. biology
b. economics
c. geography
d. linguistics
Answer: a
Chicago School.
Descendants of German immigrants, who inhabited Cincinnati's Over-the-Rhine neighborhood and

worked in the city's German-owned breweries, later moved to other parts of the city and found
employment in other kinds of businesses. What term do sociologists use to describe this
phenomenon?
a. assimilation
b. cultural relativism
c. cultural restructuring
d. framing
Answer: a
Chicago School.
Skill Level: Apply What You Know
In the context of urban ecology, what do the initials CBD stand for?
a. central boundary definition
b. central business district
c. city boundary definition
d. city business district

Answer: b
Chicago School.
Burgess's model of urban ecology is a model of __________.

a. concentric zones spreading outward from a central business district
b. concentric zones spreading outward from a central zone of transition
c. linear arrays spreading across different types of residential zones
d. linear arrays spreading outward from a factory zone
Answer: a
Chicago School.
How does the perspective of the city as a growth machine counter the Burgess urban ecology model?
a. It denies the role of private property, whereas the Burgess model does not.
b. It denies the role of taxes as drivers of city growth, whereas tax policy is integral to the Burgess
model.
c. It recognizes the role of political and economic forces, whereas the Burgess model does not.
d. It recognizes the role of key social institutions, whereas the Burgess model fails to consider
them.
Answer: c
Chicago School.
Thinking of cities as the product of intensive and strategic investment is central to __________.
a. the growth machine perspective
b. redlining
c. urban ecology
d. urbanization
Answer: a
Learning Objective: LO 9.2.2: Explain how political and economic interests work together to promote

growth and affect urban change.

German sociologist Georg Simmel argued that shifts in the environment affecting substantial portions of
the population __________ consequences on the ways that individuals act and interact.
a. have
b. have no
c. have few
d. have only subliminal
Answer: a
Learning Objective: LO 9.3.1: Discuss how urbanization has affected our lives and communities.
Topic: How Do Cities Influence Who We Are, Who Our Friends Are, and How We Live?
Sociologist Herbert Gans, in his study of community life, focused on __________.

a. ecological factors like size, density, and heterogeneity
b. demographic factors like age, race, occupation, and income
c. cultural factors like language, religion, and norms of behavior
d. political factors like conflict and power
Answer: b
Claude Fischer's theory of __________ helps us understand why certain urban neighborhoods take on
particular identities.
a. ecological stressors
b. income
c. organizational behavior
d. subcultures
Answer: d
With which of the following attributes of city life, more so than the others, did writer and activist Jane
Jacobs concern herself?

a. the demographic composition of neighborhoods

b. the environmental hazards of neighborhoods
c. the cultural dynamics of neighborhoods
d. the physical layout of neighborhoods
Answer: d
The work of Jane Jacobs inspired the ideas of which school of urban design?
a. New Communitarianism
b. New Criticism
c. New Preservationism
d. New Urbanism
Answer: d
Which of the following forms of community would a New Urbanist favor?

a. an urban-fringe community with separate zones for housing and for commercial enterprises
b. a gated community of single-family homes interspersed with public spaces
c. a walkable urban community combining different types and scales of housing, offices, retail
outlets, medical services, schools, recreational areas, and other commercial or industrial
components
d. a mixed-use bedroom community
Answer: c
Which concept of community best encompasses the fundamental concerns of sociologists who study
today's cities and communities?
a. Community comprises family members and neighbors, along with nearby friends.
b. Community comprises individuals located in the immediate space surrounding a person,
whether family or not.
c. Community is the degree to which individuals connect with, support, and interact with each
other.
d. Community comprises strong friendships with people we come in contact with through school,

work, or other social institutions.

Answer: c
Learning Objective: LO 9.3.2: Discuss the impact of technology on community life.
What does recent sociological research suggest about online social networks, in terms of how they are
changing personal and social life?
a. Online social networks may be a poor substitute for voice-to-voice interactions.
b. Online social networks may be a poor substitute for face-to-face interactions.
c. Online social networks may expand and enhance our offline social networks.
d. Online social networks may compete with and undermine our offline social networks.
Answer: c
Social capital refers to the resources available to individuals __________.

a. given their financial and economic status
b. through their relationships and networks
c. through their cultural affiliations
d. given the advantages conferred on them at birth
Answer: b
Research suggests that communities with high levels of cohesion and trust have __________.
a. higher levels of violence when the community is very poor
b. higher levels of violence whether the community is very poor or middle income
c. lower levels of violence, but only if the community is very poor
d. lower levels of violence, even if the community is very poor
Answer: d

How did researchers St. Clair Drake and Horace Cayton describe Bronzeville, the name given to the
African American section of Chicago's South Side, in 1945?
a. as a "Black Metropolis," where violence, overcrowding, and dilapidated housing were the norm
b. as a desolate and violent "urban ghetto"
c. as a "vibrant community" where black cultural and social life thrived despite high poverty
d. as a slum rife with "gambling dens" and "call-houses"
Answer: c
One of the most influential theories of urban transformation that helped to explain the deterioration of
black neighborhoods from vibrant metropolises to violent ghettos began by documenting
__________.
a. the decline in marriageable black men
b. the disappearance of black churches
c. the disappearance of manufacturing jobs from cities
d. the rise of welfare receipts
Answer: c
Ethnographers are researchers and scholars who __________.

a. experiment with people and places under laboratory conditions
b. study people and places by immersing themselves in a community
c. study the historical documents associated with the founding of new communities
d. ask questions about the people and places in a community using questionnaires and random
sampling
Answer: b
In the decades since 1968, when the Fair Housing Act was passed with the hope that it would end the

racial segregation of American neighborhoods, racial segregation has __________ in most of

America's major cities.
a. declined steadily
b. declined only slightly
c. increased steadily
d. increased only slightly
Answer: b
Learning Objective: LO 9.4.2: Discuss the diversity of America’s cities.
What was one of the outcomes of the passage of the Hart–Cellar Act of 1965?
a. the flow of immigrants coming to the United States increased
b. the flow of immigrants coming to the United States from Europe ended
c. existing national origins quotas for immigration remained in place
d. most prohibitions against immigrants from Asia based on national origin remained in place
Answer: a
East Hollywood, which contains a substantial number of immigrants from Latin America, Armenia, and
Southeast Asia, is an example of __________.
a. a cultural capital
b. structural discrimination
c. segmented assimilation
d. a global neighborhood
Answer: d
What is the Hispanic equivalent of the black ghetto?

a. barrio
b. guayaba
c. almendra
d. la migra
Answer: a


About __________ immigrants are now estimated to live in the United States, an increase of almost
__________ from just two decades ago.
a. 23 million; 11 million
b. 33 million; 20 million
c. 43 million; 20 million
d. 53 million; 30 million
Answer: c
Learning Objective: LO 9.5.1: Explain how the world’s cities are linked together.
Topic: How Will Cities Change in an Increasingly Connected World?
The primary points of entry for the majority of immigrants coming to America from abroad are
__________.
a. suburban areas of major cities
b. major cities
c. rural areas
d. ethnic enclaves in small-town America
Answer: b
Learning Objective: LO 9.5.1: Explain how the world’s cities are linked together.
Service-sector jobs, which began to replace manufacturing jobs in the 1970s, refer to __________.
a. relatively low-wage work
b. relatively high-salary work
c. middle-income jobs dominated by college graduates
d. low-wage and high-wage work
Answer: d
Learning Objective: LO 9.5.2: Discuss how immigration and globalization have changed cities and urban
neighborhoods.

The Palermo Soho neighborhood in Buenos Aires, which contains high-end fashion boutiques and trendy
new restaurants, is one example of a(n) __________.
a. central business district
b. concentric zone of transition
c. bright light area
d. urban glamour zone
Answer: d
neighborhoods.
Which of the following scenarios best exemplifies one of the causes of the rise of urbanization in
the United States during the late nineteenth and early twentieth centuries?
a. Caroline, a widow, left her rural town seeking a greater sense of community in a bigger city.
b. Martha was dissatisfied with the education that her children were getting at their
backwoods one-room schoolhouse, so she moved her family to a city with an improved
school system.
c. Toby, the son of former slaves, hoped to find employment and tolerance in the North.
d. William and his family were tired of feeling isolated in their rural town, so they moved to a
city where they would have many close neighbors.
Answer: c
Source ID: TB SMC 8.1
Which scenario typifies a federally subsidized exodus of whites from central cities?
a. After earning her MBA, Kate found a better job in the suburbs, so she and her family moved
out of the city to reduce her commute.
b. Kent had no trouble securing a home loan, so moving to a bigger house in the suburbs was
an easy way to escape urban life.
c. Lisa was intimidated by nonwhite minorities who were moving in large numbers to her city,
so she relocated to an ethnically homogenous white suburb.
d. Mary and John were tired of using public transportation, so they bought a car and relocated
their family to the suburbs.
Answer: c
century.

A group of aldermen and alderwomen is discussing their city's future but want first to understand
its past. They are studying historical records of residential and commercial migration
patterns, immigrant clusters, and functionalities of different areas. In general, they're
looking at how and why residents might have moved and settled where they did. It would
be helpful if the group had a thorough understanding of __________.
a. the Great Migration
b. social networks
c. urban ecology
d. urban renewal
Answer: c
Chicago School.
Applying her understanding of cities as growth machines, what can Gabby logically conclude about
how and why her city's population has increased so rapidly over the past decade?
a. Local builders, government officials, media moguls, and university officials used taxation,
policy regulations, and civic engagement to develop strip malls, improve public
transportation, and build sport and entertainment venues designed to increase population
and economic activity.
b. Local residents, in an effort to attract a greater influx of new residents to the city, devised
effective ways to promote their city in over-the-phone interviews.
c. To lure more residents to the city, entrepreneurs and philanthropists worked together on
United Way campaigns.
d. Wealthy landowners bought up much of the city's property.
Answer: a
It seems obvious that rural areas foster a greater sense of community and social connectedness
than urban areas, but how might cities be able to create a similar feeling of community?
a. develop more pedestrian areas where residential sites are interspersed with locally owned
businesses
b. divide residential areas into informally structured communities, each with its own budget,
monthly meetings, and informal leaders and officers
c. establish more formal boundaries to segregate residents with similar interests and
demographic factors

d. strengthen the police force in residential areas to ensure greater feelings of security
Answer: a
Which of the following scenarios is an accurate reflection of the impact of technology on

community life?
a. Keisha has already experienced social isolation in the city where she lives, and her sense of
disconnectedness increases with the infusion of technology and social media into her
everyday life.
b. Lydia's social capital has improved since she started using social media to stay connected
socially and professionally to friends and work contacts.
c. Marco spends so much time on his smartphone that he rarely socializes with his fellow
college students, greatly reducing his number of social networks.
d. After graduating from college, Rafael returned to his small hometown to look for work
because he still has a lot of personal ties there. His job search, therefore, is more focused
on face-to-face contacts than on social media.
Answer: b
Which of the following scenarios accurately reflects the impact on cities of the huge increase in
immigration to the United States since 1965?
a. Formerly segregated neighborhoods have been transformed into global neighborhoods and
segmented assimilation, often involving downward mobility for some immigrants, is the
norm.
b. Huge increases in crime, directly attributable to immigrants' ignorance of U.S. laws, have
strained understaffed city police forces.
c. Local schools have used the sudden enrollment of many students with varied ethnicities as
a teaching tool for better understanding other cultures, and students have been
encouraged to help newcomers integrate effectively.
d. Unemployment rates have skyrocketed because of the massive influx of undereducated,
unskilled laborers, who have taken low-level jobs away from native-born U.S. citizens.
Answer: a

What has been the effect of global cities on urban areas, economically, socially, and politically?
a. Politicians have focused more money and time on courting the immigrant vote, immigrants'
political and civic involvement has exploded, and tolerance for new immigrants has
blossomed.
b. Life for local residents has greatly improved: lower tax rates, increased interest in and
funding for locally operated ethnic grocery stores and restaurants, and improved schools
are all evident.
c. Manufacturing jobs have been replaced by service-sector jobs, infrastructures and
landscapes have been transformed to attract international businesses, a gap has formed
between the global elite and the global service class, and city governments have focused
less on local residents.
d. Recent immigrants have been thriving because international corporations are eager to
utilize their language skills and cultural knowledge.
Answer: c
neighborhoods.
When neighborhoods, like SoHho, undergo a process of change that alters the character of aims at
improving the quality of life in the neighborhoods, they are being __________.
a. gentrified
b. racially segregated
c. augmented
d. elevated
Answer: a
Essay Questions
Explain why the process of urbanization in the modern world follows an "S curve."
Answer: Sociologist and demographer Kingsley Davis (1965) argued that, in the modern world, the
process of urbanization follows an "S curve," whose shape is driven by the timing of industrialization.
According to this model, before the emergence of widespread industry, the pace of urbanization is slow
and gradual. With the onset of industrialization, cities grow rapidly as large segments of the population
move from rural areas to urban areas, drawn by plentiful jobs in the city and technological advances that
reduce demand for labor in rural areas. After cities reach their carrying capacity, demand for labor
subsides, the cost of urban space rises, and cities may become overcrowded. As a result, migration into

the city slows and the pace of urbanization levels off.

Source ID: TB E 8.1
Why do sociologists contend that the federal government facilitated and subsidized white flight?
Answer: Instead of using its role in the home mortgage industry to promote homeownership for all
groups, the federal government adopted a set of standards that typically made homes in minority and
mixed-race neighborhoods ineligible for loans, deeming them too risky for investment. Home ownership,
consequently, was largely restricted to whites, especially in the suburbs.
Source ID: TB E 8.2
century.
Why did researcher Mike Davis label the Los Angeles metropolis a "fortress of exclusion"?
Answer: Mike Davis documented the way that "growth coalitions" sought to keep poor African American
and Latino populations from spreading into spaces deemed historically important by allocating tax
subsidies to favored developers and by excluding groups representing the city's poor communities from
taking part in decision making on urban planning. He documented strategic investment in favored
neighborhoods and a set of policing and land-use policies designed to keep the poor and racial and
ethnic minorities out of these areas. He also cited the city's removal of homeless shelters and mental
health facilities from neighborhoods where wealthy property owners wanted to develop new real estate
investments.
Source ID: TB E 8.3
Learning Objective: LO 9.2.2: Explain how political and economic interest work together to promote
What argument did Jane Jacobs make about the value of saving New York's Greenwich Village from
urban renewal?
Answer: Jane Jacobs argued that vibrant neighborhoods that encouraged the use of public spaces could
foster social connections, interaction, and public safety. She contended that Greenwich Village's dense,

tree-lined streets, which combined businesses and residences, promoted social interaction by giving
ownership of public space to all different types of community members. She argued that the physical
layout of Greenwich Village and the quality of life it engendered should exempt it from redevelopment.
Source ID: TB E 8.4
What are the three pathways to assimilation for immigrants that sociologists have identified?
Answer: Sociologists have found that immigrants follow one of several possible pathways to assimilation.
One path is the traditional trajectory of upward mobility and cultural assimilation into the mainstream.
But another increasingly prominent path involves downward economic mobility and assimilation into the
urban poor. A third path for immigrants is to integrate into the economic mainstream while sustaining
ties to the culture in the origin community by remaining within residential enclaves.
Source ID: TB E 8.9

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CHAPTER X
MOVIES OF TO-MORROW
What will the movies be like ten or twenty years from now?
Recently a very beautiful photoplay, made by a famous French
director, was brought to New York. It told of two boys and a girl, a
foundling, who grew up together on a French farm. One of the boys
was a farmer, and the other became a sculptor, and the story
concerned their love for the girl, and which of them should marry her
—the artist who made beautiful statues, or the farmer, who tilled the
soil and produced the crops without which there would be no artists
or any one else.
A good many people saw that picture, in private projection-rooms.
One New York editor who watched it said it was the most beautiful
photoplay he had ever seen. Most of those who saw it were deeply
moved by it, and called it “tremendous.” But no motion-picture
distributor cared to handle it, or show it to the American public.
The man who represented the producers of the picture, himself a
prominent artist and musician, explained why such an exceptionally
fine film had gone begging around the New York market for months
and months, while infinitely poorer pictures were being released
every week. “It’s ahead of its time,” he said. “Five years from now,
such a film will soon become famous.”
That is interesting.
If you have been reading these pages about motion pictures
carefully, you have probably by this time been impressed with two
things: First, that the movies are tremendously important—
enormous, fascinating, influential, popular forces, capable of
improving, or injuring, our entire American civilization; and second,
that in spite of tremendous advances already made, they are still, in
the opinion of those who ought to know, far below what they ought to
be.
Taken by and large, motion pictures, while already tremendously
powerful, are still amazingly poor.
What are the changes that they will have to undergo, to become
really uplifting, instead of perhaps actually degrading, influences in
our lives? And what will bring those changes about? What must you
and I do, to play our part in bringing about a betterment, and what
will that betterment be, when it comes?
The first thing that will make a difference is knowledge. As soon as
you and Henry Jones and Dug McSwatty know enough about the
movies to avoid going to the picture shows that are not worth seeing
—and know how to tell whether or not particular pictures are worth
seeing when you see them—the picture makers will give you more of
the sort of films you’d really like to see.
That may sound a little like a dog chasing his own tail—but it is
not. You and I, and Dug and Henry, in the last analysis, are the
bosses of the whole motion-picture industry. The movies are made
for us. If we do not like the kind that is shown, the movie people will
try to please us by showing another kind.
But with reservations. For there will always be more pictures made
than you and Henry and Dug and I—all of us after all representing
only one class—can pay for.
There will always be cheap pictures, and poor pictures. They will
be made for the fellows—millions of them—who don’t know any
better.
That means—since before very much longer you and Dug and
Henry and I will pay to see better films, that not so many years from
now class pictures will be made.
At present, almost every film is made with a dim hope at the back
of the producer’s mind of pleasing everybody. Or at the very least, of
pleasing the greatest possible number. Moving pictures cost so
much to make that they have to go, each of them, to hundreds and
hundreds of thousands—yes, millions of people, to pay back mere
expenses, let alone a profit. But just as soon as certain people, who
like a certain kind of picture, know where to find that picture when it
appears, and go to it, and pay to get it, pictures will be made for
them, and for them alone. Adventure stories, perhaps, for you and
Henry and Dug and me, and sentimental love stories for Minnie
Cooty and her friends, and so on.
Just as among the magazines, you find the so-called “highbrow”
magazines and reviews, and the romance magazines and the
adventure magazines, and the detective or mystery-story
magazines, you will be able to find the movies of the kind you want,
under the label that will enable you to recognize them. That will be
one of the important things—the label.
Suppose for a moment that all the magazines were published in
blank white covers, and when you went to a news-stand to buy
reading-matter, you had to pick at random, hoping that after you had
bought the magazine “sight unseen” you would find it contained the
particular type of story or review you wanted!—That is almost the
way it is with motion pictures now—except that, because of the
queer existing situation, each movie man tries to put into his picture
something for everybody; as though the owners of magazines
published in blank white covers should try to please grown-ups and
children and boys and college professors and law-students and
hoodlums and scientists with a single volume of reading-matter.
As soon as this change comes about—the division of movie
audiences into the proper groups or classes—we shall see a big
change in the whole industry. Then it will be possible to show such a
film as that French peasant story, profitably.
And it will not be long before that change comes; it is on its way
already.
Look at Goldwyn, for instance—and Universal, and Metro and
Vitagraph.
Universal was one of the first to begin to make distinctly “class”
pictures. I don’t believe that they even knew quite what they were
doing—consciously, I mean. But they began to make good “cheap”
pictures, that were distinctly not for the “exclusive” audiences. Their
pictures were for the people who wanted clearly “popular”
entertainment, as distinguished from “highbrow stuff.” The result was
that, with honesty and sincere effort, they soon came to occupy a
place as leaders, producing thrillers of “Western” action, where
cowboy heroes would ride up at incredible speed in the final feet of
the last reel, and save the lovely heroine with a six-inch gun in each
hand. Gunpowder, adventure, excitement, and love—that was the
formula, served in large doses for those audiences that were not too
particular about the plausibility of their stories, so long as they
contained those ingredients.
With Metro and Vitagraph it was more or less the same, with this
difference: that they both tried to reach a little higher grade of
audiences with their melodramas.
They tried to get on the screen a little more of artistry; the heroine
didn’t need to be quite so truly good and beautiful, or the hero quite
so noble and brave and quick with each of his guns. But after all
there was not so much difference, and in some way Universal,
perhaps seeing a little more clearly just what they were doing, had
something of an advantage.
Later, Metro tried still harder to please more discriminating
audiences—with varying results. “The Four Horsemen” is a film of
fine qualities, for audiences with a certain kind of grown-up mind. It
tells of how a boy from the Argentine, and his friends and relatives,
were drawn into the Great War, and gives a wonderful, complicated
picture of human nature, and war, almost as impressive and
confusing as life itself. On the other hand, “Turn to the Right,” equally
well done, and by the same director (Rex Ingram—the name is worth
remembering) is almost childish in the way the story is handled, with
the crooks and the innocent hero and the girls and the
misunderstandings that go to make it all up.
And with Vitagraph, “Black Beauty,” one of their most pretentious
films from an artistic standpoint, mingles the beautifully told horse
story with a brand-new tale of utter melodrama, that the horse is
supposed to tell. “Black Beauty” was all right as long as he stuck to
his own story; but when he came to telling the story of the human
beings around him for Vitagraph, I am not so sure whether he really
had good horse sense, or not.
Goldwyn, and Famous Players, and later on, First National,
definitely went in for better-class films. With Goldwyn, the effort,
while not altogether successful, was so sincere that it more than
once came close to endangering the future of the entire organization,
through putting out “class” pictures ahead of their time. “Milestones”
is an example of the kind of picture that as yet has not really found
its own audiences, and so presented a pretty big problem to its
producers from the box-office standpoint. It tells three stories in one,
of how, in three successive generations, the young people follow up
their own ideas with new inventions, and marry as they want to,
before they find themselves growing old and conservative and
advising against the very things they made a success of when they
were young.
Of the existing companies, Famous Players has done even more
to bring along the day of class pictures and divided audiences, and
has so far remained far ahead of Goldwyn in the actual number of
truly artistic pictures produced.
But let us get a step closer to this business of putting out “better
pictures,” such as we may expect to have in larger proportion to-
morrow. We can do so by noting what particular “better films” have
done.
“Humoresque,” made by Cosmopolitan Productions, and
distributed by Paramount, may fairly be classed as a “better picture.”
It was also a popular picture. The returns on the film ran to
tremendous figures—said to be well over a million dollars. It told the
story of a Jewish boy, the idol of his mother’s heart, who gave up his
opportunities to become a great violinist to enlist when the United
States entered the War. People really wanted to see flesh-and-blood
characters on the screen, instead of just noble heroes and beautiful
heroines. Dug and Henry and I—and likely you, too,—enjoyed the
little boy and the little girl and the big little family where on birthdays
there “came a meanness” into the house.
“Humoresque” made a big step towards the “better pictures” day
that is coming, by showing such queer things as the real-life little
slum girl finding a dead cat in an ash-barrel and loving it—because
the producers made a big profit on the film.
Wherever better pictures make money, other producers will imitate
them; again, that’s where it is for you and Henry and Dug and the
rest of us to keep away from poor films and find and pay admission
to those we really like.
Another picture: “Broken Blossoms.” That was a tragic story of a
little girl of the London slums who was befriended by a Chinaman
after her brutal father had given her a terrible beating. It ended with
almost as many deaths as Hamlet, but it was so beautiful, artistically,
that American critics hailed it as the most wonderful movie ever
made.
Now, tragedy is never very popular in America. We like to have our
stories end at a pleasant turn of the road—an engagement, or a
wedding, or a successful culmination of the search for treasure, or
what you will,—instead of stopping only when the people of our story
finally die, or quarrel, or give up the search for the gold. And
because “Broken Blossoms” did not have this popular appeal—the
happy ending—Mr. Griffith, who made it, had to take it and exploit
and exhibit it himself, in order to secure a hearing—or a “seeing”—
for it.
This was the result: The picture was hailed as so wonderful that
millions went to see it, because of its reputation. Of those millions,
hundreds of thousands, perhaps, were not able to like it, because it
was so tragic. Other movie producers, watching the result, noticed
this, so that although the picture helped the movies along artistically,
it didn’t convert other producers to that sort of effort. “People don’t
want that sort of stuff,” they said in too many instances. “Look at
‘Broken Blossoms,’—they really don’t want better pictures.”
Another famous film was “Over the Hill.” That picture helped
movies along because it didn’t cost much to make—relatively
speaking—but brought in as much for the producers as other films
costing far more. The story, of a devoted mother who was neglected
or abused by all but one of her children when she needed their help
and love, was far better than the average movie, and had a big, and
healthy, emotional appeal. Any fellow who could watch it without
resolving to be better to his own mother would be pretty worthless.
“The Old Nest,” another story of the same type, though not quite
as appealing, also did well. Such pictures, worth while in themselves,
and at the same time profitable, helped along the whole picture
industry.
Courtesy United Artists Corporation.

Archway from “The Three Musketeers.”
A high degree of artistry has been reached in the designing of motion-
picture sets.
A Mexican Gateway from “Winners of the West.”
Simplicity is often the keynote of effectiveness. Here an impressive effect is
secured with a minimum of effort
“The Copperhead,” on the other hand, and “The World and His
Wife,” two of the finest films ever distributed by Paramount, did not
help things along very much, because being, like “Broken
Blossoms,” more or less tragic, they failed to find the audiences that
might have made them profitable.
A few years from now, when certain brands, names, or concerns
have come to have a definite following of audiences that will know
what to expect from them, “The Copperhead” or “The World and His
Wife” could be distributed, in all probability, with far greater success.
“The Copperhead,” in particular, a patriotic spy story of the Civil War,
with the appeal that it has through the portrayal of Abraham Lincoln,
as well as its stirring war setting, would be sure to please—as soon
as it could find the right audience, and a big enough one.
This brings us to another point of improvement that will be seen in
pictures before long: good films will last longer.
Just such pictures as these mentioned, for instance,—“The
Copperhead,” “The World and His Wife,” “Over the Hill,” “Broken
Blossoms,” and many more, will be watched and welcomed again
just as gladly as was Mary Pickford’s “Rebecca of Sunnybrook Farm”
or Griffith’s “Birth of a Nation.” The day when a good picture will “go”
only when it is brand new—only when you and Dug and I have never
seen it before, and go to it only because it’s new, is almost over. In
the long run you and Dug and I—and Henry, too,—have more sense
than that. We shall be just as willing to see and enjoy a good picture
a second time—perhaps years after we saw it the first time—as we
are now willing to re-read a book or story that pleased us immensely.
As an example, take “A Connecticut Yankee in King Arthur’s
Court”; any one who enjoyed that whimsical yarn of a Yankee in
armor as much as I did will be entirely willing—yes, anxious—to see
it again, if it is shown once more, half a dozen years from now.
Never be afraid to go to see a really good film twice; never be
afraid to go to see a really good film after it is old or out of date. That
will help things along. For the quicker poor photoplays die, the better
off we are, and the longer good ones live, the better off we are, too.
Next, to get to another change that will come to the movies very
shortly. That is the coming in of a more far-sighted dollar.
Far-sighted dollar? Exactly. At present the dollars invested in
movies are mostly very shortsighted. At the very best, we can say
they are—well, “smart.” They don’t look ahead. They take no
particular pride in their work. They are not ashamed if they fail to
give value received—100 cents of satisfaction for every 100 cents.
Speaking of dollars in this way is entirely correct. For a dollar is an
inert thing, that takes on life and movement and power and
individuality in accordance with the ideas and ideals and personality
of the man who spends or invests it. The selfish dollar is the coin of
the purely commercial business man who merely tries to get as
much as he can while giving as little as he can. The intelligent dollar
is the dollar of a really intelligent investor, who expends it wisely, and
fairly, and in such a way that it will bring him both a sure and an
honorable return.
In motion pictures, the average investor, up to the present time,
has been either a “sucker” who simply lost his money, or a
speculator who took a blind chance, or a “wise guy” who knew the
picture business and merely played it for what he could get out of it,
with little or no regard for the other fellow, or the public, or American
prestige, or anything else that didn’t directly affect his own
pocketbook. Of course there are exceptions—but after all there are
not so very many of them. The dollar of the average American movie
producer to-day is still a rather unintelligent dollar.
Up to this time, intelligent dollars have been a little ashamed to go
into motion-picture investments, because with so many unintelligent
dollars around they were afraid they would be classified the same
way. A publisher, for instance, who has had wide magazine
experience and who now runs more than one New York magazine,
was recently urged to go into a motion-picture investment “for the
good of the movies.” He refused, because, he said, he had never
stooped to that kind of investment. To him, the movie dollars seemed
so selfish, so short-sighted, so unintelligent, that he refused to let his
own dollars associate with them.
Every time, though, that your father, or Dug’s father, or Henry’s
father, chances to invest dollars in any motion-picture scheme that
turns out better pictures, that pay by being better,—and such
investments are now possible every once in a while—the
unintelligent dollars in the movies are crowded a little farther along
the bench, and the whole industry, and indirectly the whole country,
is that much better off.
The time is now close at hand when motion-picture investments
will rank much higher than formerly, so that intelligent dollars may
come in without losing their self-respect. When the industry is
regarded as quite as honorable a field for investment as in the case
with, say the newspaper or book-publishing business, we shall have
far better pictures.
And finally, the movies are just now on the edge of invading a
brand-new field.
When your sons go to college, they will probably watch motion
pictures a good deal of the time.
Just as certainly as the books and the magazines and the
newspapers followed the invention of the printing-press, educational
films will come to replace some of our present methods of study.
Already we have seen the news reel, and the scenic, depicting the
scenes where history is being made to-day, or showing more
graphically than any printed words could ever describe it, the rush of
water at Niagara Falls. Unconsciously, we are learning geography
from those scenic reels right now, more often than not. If you have
seen the top of Vesuvius, and the scenes about the top, in motion
pictures, you know more about that wonderful old volcano right now
than any school-book ever taught you.
Slow motion pictures show how the tennis-player serves, how the
swimmer makes his crawl strokes, how the wrestler gets his hold.
Scientific films have shown the circulation of the blood, with the veins
and arteries magnified to a degree that makes them look like brooks,
two feet wide, with the pulse-current sending along fresh waves, half
a foot high. A camera placed in the best position for observation at a
clinic can bring to the screen the most minute detail of a delicate
operation performed by the greatest living surgeon—and make that
knowledge available for hundreds of thousands of students.
It is through this door, perhaps, this educational door, that the
great metamorphosis of the movies will come. For the making of
reels that will carry information for students, that will take truth and
wisdom to whole generations of scholars, is an honorable and
conscientious undertaking. With money profitably invested in motion-
picture ventures of this new, and inevitable, kind, the whole motion-
picture field will take on a new aspect, and attract the more intelligent
dollars, the more honorable dollars, that will in turn gradually lift the
character, and the quality, and the products, and the results, of the
entire industry.
Well, that brings us to the end of this movie-talk, that you and I
have been having together. If you will do your part, and encourage
the best films you can find, and try to keep away from poor ones,
you’ll help the whole cause of better pictures, that we need so badly,
along. I will do mine in trying to make better pictures. Together, you
and I and the others who want to see better pictures and the others
who want to make better pictures, will get better pictures.
THE END
Transcriber’s Notes:
Blank pages have been removed.
Obvious typographical errors have been silently corrected.
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racial segregation of American neighborhoods, racial segregation has __________ in most of

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the city slows and the pace of urbanization levels off.

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