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Clinical Obstetrics
A Case-based Approach
Editors
Pushpa Mishra
Senior Medical Officer
Department of Obstetrics and Gynecology
Maulana Azad Medical College and
Lok Nayak Hospital
New Delhi, India
Niharika Dhiman
Assistant Professor
Lok Nayak Hospital
New Delhi, India
Anjali Tempe
Director Professor and Head
Department of Obstetrics and Gynecology & IVF Center
Lok Nayak Hospital
New Delhi, India
Foreword
Siddarth Ramji
The Health Sciences Publisher

New Delhi | London | Panama
Prelims.indd 3 26-Sep-17 10:13:40 AM

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© 2018, Jaypee Brothers Medical Publishers
The views and opinions expressed in this book are solely those of the original contributor(s)/author(s) and do not necessarily
represent those of editor(s) of the book.
All rights reserved. No part of this publication may be reproduced, stored or transmitted in any form or by any means,
electronic, mechanical, photocopying, recording or otherwise, without the prior permission in writing of the publishers.
All brand names and product names used in this book are trade names, service marks, trademarks or registered trademarks of
their respective owners. The publisher is not associated with any product or vendor mentioned in this book.
Medical knowledge and practice change constantly. This book is designed to provide accurate, authoritative information about
the subject matter in question. However, readers are advised to check the most current information available on procedures
included and check information from the manufacturer of each product to be administered, to verify the recommended dose,
formula, method and duration of administration, adverse effects and contraindications. It is the responsibility of the practitioner
to take all appropriate safety precautions. Neither the publisher nor the author(s)/editor(s) assume any liability for any injury and/
or damage to persons or property arising from or related to use of material in this book.
This book is sold on the understanding that the publisher is not engaged in providing professional medical services. If such
advice or services are required, the services of a competent medical professional should be sought.
Every effort has been made where necessary to contact holders of copyright to obtain permission to reproduce copyright
material. If any have been inadvertently overlooked, the publisher will be pleased to make the necessary arrangements at the
irst opportunity.
Inquiries for bulk sales may be solicited at: [email protected]
Clinical Obstetrics: A Case-based Approach
First Edition: 2018
ISBN: 978-93-5270-274-9

Dedicated to
All our students
past, present and future

Contributors
Aastha Raheja Asmita Muthal Rathore
Resident Director Professor
Department of Obstetrics and Gynecology Department of Obstetrics and Gynecology
Maulana Azad Medical College and Maulana Azad Medical College and
Lok Nayak Hospital Lok Nayak Hospital
New Delhi, India New Delhi, India
Anjali Tempe Bidisha Singha

Director Professor and Head Specialist
Department of Obstetrics and Department of Obstetrics and Gynecology
Gynecology & IVF Center Maulana Azad Medical College and
Maulana Azad Medical College and Lok Nayak Hospital
Lok Nayak Hospital New Delhi, India
New Delhi, India
Chetna Arvind Sethi
Anubhuti Rana Specialist
Senior Resident Department of Obstetrics and Gynecology
Department of Obstetrics and Gynecology Maulana Azad Medical College and
New Delhi, India
Chinmoyee Sonowal
Aparna Setia Resident
Resident Department of Obstetrics and Gynecology
New Delhi, India
Deepali Dhingra
Ashish Jain Fellow of National Board of Examinations
Assistant Professor (Reproductive Medicine)
Department of Neonatology Department of Obstetrics and Gynecology
Ashok Kumar Deepti Goswami

Director Professor Director Professor

viii Clinical Obstetrics: A Case-based Approach
Devender Verma Krishna Agarwal

Professor Professor
Maulana Azad Medical College and Lok Nayak Hospital Maulana Azad Medical College and
New Delhi, India Lok Nayak Hospital
New Delhi, India
Divya Arora
Resident Latika Sahu
Department of Obstetrics and Gynecology Professor
Maulana Azad Medical College and Lok Nayak Hospital Department of Obstetrics and Gynecology
New Delhi, India Maulana Azad Medical College and
Lok Nayak Hospital
Divya Singh New Delhi, India
Resident
Department of Obstetrics and Gynecology Madhavi M Gupta
Maulana Azad Medical College and Professor
Lok Nayak Hospital Department of Obstetrics and Gynecology
New Delhi, India Maulana Azad Medical College and
Lok Nayak Hospital
Gazala Shahnaz New Delhi, India
Fellow of National Board of Examinations
(High-Risk Pregnancy) Meenakshi Goel
Department of Obstetrics and Gynecology Senior Resident
Maulana Azad Medical College and Department of Obstetrics and Gynecology
Lok Nayak Hospital Maulana Azad Medical College and
New Delhi, India
Gauri Gandhi
Director Professor Neelam Yadav
Department of Obstetrics and Gynecology Senior Resident
Maulana Azad Medical College and Department of Obstetrics and Gynecology
Lok Nayak Hospital Maulana Azad Medical College and
New Delhi, India
Kashika Kathuria
Fellow of National Board of Examinations Niharika Dhiman
(Reproductive Medicine) Assistant Professor
Komal Rastogi Nilanchali Singh

Senior Resident Assistant Professor

Contributors ix
Nupur Ahuja Priyanka Khandey

Senior Resident Senior Resident
Maulana Azad Medical College and Maulana Azad Medical College and Lok Nayak Hospital
New Delhi, India
Pushpa Mishra
Nuzhat Zaman Senior Medical Officer
Resident Department of Obstetrics and Gynecology
New Delhi, India
Rachna Sharma
Pallavi Sharma Senior Specialist
New Delhi, India
Renu Tanwar
Poonam Kashyap Professor
Specialist Department of Obstetrics and Gynecology
New Delhi, India
Ruchi Gupta
Poonam Sachdeva Fellow of National Board of Examinations
Senior Specialist (High-Risk Pregnancy)
Preeti Singh Sangeeta Bhasin

Associate Professor Chief Medical Officer (NFSG)
Priyanka Chaudhary Sangeeta Gupta

Senior Resident Director Professor

x Clinical Obstetrics: A Case-based Approach
Shakun Tyagi Sparsha

Associate Professor Resident
Shristi Sudha Prasad

Resident Director Professor and IVF Coordinator
Simar Kaur Tarang Preet Kaur

Fellow of National Board of Examinations Resident
(High-Risk Pregnancy) Department of Obstetrics and Gynecology
New Delhi, India
Vandana Sehrawat
Sneha Sharma Senior Resident
New Delhi, India
Snigdha Pathak
Senior Resident
Lok Nayak Hospital
New Delhi, India

Foreword
The idea of a book which captures the essentials of the postgraduate course in obstetrics and gynecology is a welcome
one. The case presentation format will facilitate problem-based learning among the students. This will not only be useful
for their examinations, but also subsequently in their clinical practice. This will complement their learning from direct
observations of patients in the clinical setting.
Siddarth Ramji
Director Professor and Dean
Maulana Azad Medical College
New Delhi, India

Preface
The Department of Obstetrics and Gynecology and faculty of Maulana Azad Medical College has been instrumental in
writing various books on different aspects of obstetrics and gynecology in last 20 years. Our books have been received
by the students with great excitement and enthusiasm. It has been our practice to choose relevant topics for discussion
which are useful to undergraduates and postgraduates of obstetrics and gynecology.
In this book, it is our endeavor to deal with clinical aspects of obstetrics, mainly the case discussion in high-risk
pregnancy and medical disorders associated with pregnancy. There are many books on obstetrics in the market but
this book is written with the view of making all obstetric cases simple in diagnosis and management for the young
obstetricians. This book also covers other practical aspects which deal with specimens, instruments, drugs and viva voce.
The DVD-ROM which has been enclosed includes the obstetric examination of the pregnant patient and basic obstetric
procedures. We hope that this will be useful to all postgraduates and undergraduates for their examinations as well as to
the young practicing obstetricians.
Pushpa Mishra
Niharika Dhiman
Anjali Tempe

Contents
Chapter 1. Anemia in Pregnancy 1
Ashok Kumar, Ruchi Gupta, Divya Arora
Chapter 2. Hypertension in Pregnancy 15

Anjali Tempe, Komal Rastogi
Chapter 3. Diabetes in Pregnancy 25

Krishna Agarwal, Aastha Raheja
Chapter 4. Fetal Growth Restriction 33

Simar Kaur, Sangeeta Gupta
Chapter 5. Multifetal Pregnancy 47

Renu Tanwar, Shristi
Chapter 6. Pregnancy with Intrauterine Demise 58

Madhavi M Gupta, Sparsha
Chapter 7. Rh Negative Pregnancy 62

Sudha Prasad, Meenakshi Goel
Chapter 8. Pregnancy with Previous Cesarean Section 72

Bidisha Singha
Chapter 9. Morbidly Adherent Placenta 78

Devender Verma
Chapter 10. Preterm Labor 83

Poonam Sachdeva, Niharika Dhiman, Sneha Sharma
Chapter 11. Preterm Premature Rupture of Membranes 90

Shakun Tyagi, Vandana Sehrawat
Chapter 12. Pregnancy with Fetal Congenital Anomaly 96

Gazala Shahnaz, Asmita Muthal Rathore
Chapter 13. Recurrent Pregnancy Loss 106

Deepali Dhingra, Anjali Tempe, Komal Rastogi
Chapter 14. Pregnancy in Extremes of Ages 111

Komal Rastogi, Niharika Dhiman
Nupur Ahuja, Pushpa Mishra
Chapter 15. Postdated Pregnancy 116

Neelam Yadav, Preeti Singh

xvi Clinical Obstetrics: A Case-based Approach
Chapter 16. Antepartum Hemorrhage 121

Gauri Gandhi, Snigdha Pathak, Divya Singh
Chapter 17. HIV with Pregnancy 132

Pushpa Mishra, Priyanka Chaudhary
Chapter 18. Pregnancy with Heart Disease 140

Chetna Arvind Sethi
Chapter 19. Thyroid Diseases in Pregnancy 152

Deepti Goswami, Chinmoyee Sonowal
Chapter 20. Neurological Disorder in Pregnancy 162

Latika Sahu, Tarang Preet Kaur
Chapter 21. Renal Diseases in Pregnancy 174

Sangeeta Bhasin, Neelam Yadav
Chapter 22. Liver Disorders in Pregnancy 182

Kashika Kathuria, Anjali Tempe
Chapter 23. Critically Ill Patients 194

Nilanchali Singh, Priyanka Khandey
Chapter 24. Postnatal and Postoperative Ward Round 205

Pallavi Sharma, Pushpa Mishra
Chapter 25. Neonatal Resuscitation for an Obstetrician 213

Ashish Jain
Chapter 26. Postpartum Contraception 220

Rachna Sharma, Anubhuti Rana
Chapter 27. Surgeries in Obstetrics 226

Pushpa Mishra, Aparna Setia
Chapter 28. Gynecological Disorders in Pregnancy 243

Niharika Dhiman
Chapter 29. Miscellaneous 253

Poonam Kashyap, Nuzhat Zaman
Chapter 30. Common Mistakes in Case Presentation 260

Nilanchali Singh, Pushpa Mishra
Appendices 265

Other documents randomly have
different content
The Project Gutenberg eBook of The soul of
the moving picture
This ebook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this ebook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.
Title: The soul of the moving picture
Author: Walter Julius Bloem
Translator: Allen Wilson Porterfield
Release date: February 26, 2024 [eBook #73028]
Language: English
Original publication: New York: E. P. Dutton & Company, 1924
*** START OF THE PROJECT GUTENBERG EBOOK THE SOUL OF

THE MOVING PICTURE ***
Transcriber’s Notes
New original cover art included with this eBook is granted to the public domain.
Other notes may be found at the end of this eBook.
Scene from The Nibelungs.
[See p. 93]
T HE SOUL OF T HE
MOV I N G P I C T UR E
BY
WALTER S. BLOEM
AUTHORIZED TRANSLATION FROM THE GERMAN
BY
ALLEN W. PORTERFIELD
NEW YORK
E. P. DUTTON & COMPANY
681 Fifth Avenue
Copyright, 1924
By E. P. Dutton & Company
All Rights Reserved
PRINTED IN THE UNITED

STATES OF AMERICA
CONTENTS
PAGE
Introduction ix
CHAPTER
I. Tools of the Trade 1

II. Texts 19
III. Tricks 32
IV. The Scene 40
V. The Setting 72
VI. The Poet 95
VII. The Compass of Poetry 110
VIII. Film Adaptation 144
IX. The Path to Art 153
LIST OF ILLUSTRATIONS
SCENE FROM
The Nibelungs Frontispiece
FIGURE FACING PAGE
1 The Cabinet of Dr. Caligari 6

2 The Cabinet of Dr. Caligari 14
3 The Stone Rider 20
4 The Stone Rider 28
5 The Nibelungs 34
6 Destiny 42
7 The Children of Darkness 48
8 Algol 60
9 Dr. Mabuse: The Great Unknown 64
10 Golem 70
11 Golem 78
12 Destiny 84
13 Sumurun 100
14 Madame Dubarry 108
15 Anne Boleyn 114
16 Dr. Mabuse: The Great Unknown 122
17 A Doll’s House 130
18 Vögelöd Castle 138
19 Destiny 146
20 The Nibelungs 152
21 The Nibelungs 160
INTRODUCTION
The influence of the moving picture on the souls of the various

peoples of the earth has become so great that an attitude of
indifference toward this marvelous invention is no longer
permissible. We see ourselves forced to take a definite stand for it or
against it; we are obliged to line up as friend or foe of the film. It is,
however, no longer sufficient to oppose the moving picture in a spirit
of indulgent contempt or fanatic hostility. All the world knows that
there are more bad moving pictures than good ones, and that the
moral and aesthetic tendency of a great many films is of a quite
negligible nature. But if the moving picture were in reality the
offspring of the Devil, as many theologians and academic demi-gods
the world over contend, thinking people would be at once
confronted with this insoluble problem: How does it come that
thousands upon thousands of human beings scattered over the earth
are laboring, with intense resignation and passionate zeal, to the
end that the film may be made more perfect artistically and cleaner
from a purely moral point of view? The striving after money has
naturally something to do with their efforts. To offer this, however,
as a final explanation of this unusual situation would be an idle
method of reasoning. You cannot explain the joy these men are
taking in their creative efforts in this way, for their souls are in their
work.
To many thinking people, the real nature of the moving picture is
wrapped in mystery; it is a brilliant and enigmatic riddle to them.
They recognize, though they fail to comprehend, the fact that the
moving picture, despised without restraint and condemned on
general principles only the other day, has won an incomparable
victory over the hearts of men—a victory, too, that will be all the
greater and more beautiful once the psychic and moral perfection of
the moving picture has been accomplished.
The cultured man has an instinctive hatred of forces the
significance of which lie beyond his grasp; he makes every
conceivable effort to defend himself against them, to ward them off.
But the people, the masses, throw themselves into the arms of such
forces blindly and without question. The number of cultured men,
however, who are going over to the camp of the moving picture—
without thereby becoming disloyal to the other arts—is growing
daily. Even those sworn and confirmed skeptics who still look down
upon the film from the heights of their intellectual superiority with
superciliousness and contempt are bound to admit that there is
something between the pictures which has a magic power to draw,
which exercises an ineluctable influence in the gaining of recruits.
The moving picture is an art based on feeling, and not on

thought. It has to do with the emotions rather than with the
intellect. The man who goes to the moving picture wants to
experience certain incidents, not by thinking about them, but by
feeling them. Just as music arouses the feelings through tones, just
so does the moving picture attempt to solve, not the riddle of the
human brain, but of the human soul. A moving picture is a feeling
expressed through gestures.
There is still much about this youthful art that is altogether
misunderstood. Its real sources, the fountains of its life, are
suspected, foreboded by only a few; nor are they recognized, when
seen, by all. Nearly every visit to a motion picture theatre is a
disappointment; the must of the grape is still carrying-on in a really
absurd fashion.
The motion picture, however, is marching straight ahead in a
course of unmistakable and wonderful development toward the
heights of victory. And this development, this evolution, has to do
not merely with the perfecting of the art itself, but with the
enjoyment that is derivable and derived from the art. Our eyes are
becoming keener in the detection of gestures and mimicry; our
imaginations are growing sharper, even clairvoyant; they are rapidly
becoming able to read the language of pictures and movement.
When the motion picture was still in its infancy, its actors assumed
and employed the shrill and tinny pathos of the pantomime. At that
time, and it was not long ago, the lovely and mutely passionate
world of gesture was unknown to us. We saw it, to be sure, in the
dance, but we were still incapable of interpreting it. To-day we feel,
detect, see some sort of inner vibration behind the slightest
movement.
In the other arts, in the old and tried arts, those that have
already been developed to a high stage of perfection, if not actually
over-developed, progress, if made at all, must be made with the
expenditure of tremendous effort; it must be wrung from the depths,
as it were. In the moving picture, on the other hand, a thousand
possibilities still lie quite on the surface, ready, indeed longing, for
fulfilment. The great creator can think, feel, and dream new and
novel features without falling into despair at the thought of what has
already been done. Becoming mindful of the past is not a painful
occupation for him. Indeed, the motion picture may be compared to
a starry heaven that stretches out before our upturned eyes,
awaiting the creative ken of the celestial investigator.
Every attempt, however, of the exuberant creator, filled with the

urge for deeds, to perform aesthetic experiments on the motion
picture avenges itself; such experiments cannot be carried out with
impunity. For the applause of a small circle of the elect is not going
to prevent bankruptcy on the part of the film company that supports
these experiments. Film art without economic success is quite
unthinkable.
Germany, the land of theory, experienced a short while ago a
veritable flood of aesthetic experiments in the domain of the moving
picture. Of these, there was but one, The Cabinet of Dr. Caligari,
which provided its creators with the satisfaction that comes from a
pronounced success in foreign countries. And even in this case the
success was due to the peculiarity of certain means that had
heretofore never been seen on the screen. The American has too
much appreciation of this world, and too little sense for the world
beyond, to grow enthusiastic about phantoms or nebulous
adventures. Nor is he weighed down with the traditions that reach
back through centuries of time and constitute so much impedimenta
on the part of European artists. And the Swede is too intimately
associated with the mother-earth of his home ever to undertake a
flight to the clouds through the medium of the motion picture. But
the Swede and the German reached the point where they saw that
you have got to speak a language, in the film, which can be
understood by men wherever they chance to live.
A work, let it be ever so artistic and valuable in itself, which brings
economic distress to the film company that produces it, harms
indirectly the entire film business as an art. That film artist attains to
the complete realization of his desires whose creations put money
into the purse of the company; the one who does not do this fails in
the end. The task of the film artist is always and ever: To effect a
happy union between art and business. Moreover, this union must be
brought about in such a way that both—art and business—flourish.
The man who cannot do this merely drives the film companies on to
the production of cheap and cheapening pictures which draw the
masses and pay a reasonable dividend, but nothing more. For the
film companies of this earth are and remain, first of all, business
concerns that must pay. Film art is expensive, and no gratuitous
distributor of private funds is going to give one penny which will not
bear him interest. If there be anyone so blind as not to be able to
grasp this simple principle, he is unable to grasp the underlying
principle of the motion picture as an art. To fail to recognize
commercial success as the basic condition on which film art rests is
to call down upon one’s head the irritation that ensues from
ineffectual grumbling. Consequently, the much lauded redeemer of
the film will be he, and he only, who can create what is at once of
enduring artistic value and financial potentiality.
And every film will have this artistic and commercial success
which glows with real passion because it has been wrung from
powerful feeling. The art, the very soul of the motion picture,
cherishes no desire for subtle, intellectual form or forms. It longs,
indeed, for a soul form of elementary force.
This is true, for the unique though inexhaustible domain of the

motion picture is the eternal feelings of man, the initial and primeval
feelings that rise from out of the senses and mount to the soul. Love
or hate, and the joy, sorrow, grief, hope, lamentation and good
fortune that emanate from these two—it is with these that the film
has to do. It has to do with nothing that comes rigidly from the
intellect—or exclusively from the soul itself. In the moving picture
everything becomes pale and colorless which is not born of the
1
sensual emotions. Every art seeks its way to the soul. Sensuality
and soul, that is the moving picture. There is only one eternal,
immutable, and never-failing material for the film: it is the passion of
the soul.
1
There is no word that occurs more frequently in this book than sinnlich, or the
noun derived from it, Sinnlichkeit. Throughout, the former is rendered by
“sensual,” the latter by “sensuality.” Neither of these words has here the
connotation that is ordinarily attached to it: “Sensual” means nothing more than
relating to the senses; and “Sensuality” is the noun form and means nothing more
than the composite result of our being “sensual.” We have, as a matter of fact, five
“senses.” The German for “sense” is Sinn. Consequently, sinnlich has reference to
our capacity for sensations, our sensibility. The words might have been translated
in a variety of ways. I might have commandeered such terms as “sentient,”
“sensory,” “susceptible to sense experiences,” and so on. Such variety would have
been, probably, in the interest of seeming erudition, which leaves me cold, or in
the interest of pedagogy which, so long as I remain normal, no man can ever
persuade me to study. —Translator.
Thought and intellect are given an intelligent welcome by but very

few people. Were it not for the herd and hypocrisy, poetry would be
unread and the stage would be a temple of the lonely and isolated.
Is Shakespeare or Goethe really understood by the masses?
The senescent stage is the counterpart of the goal of our
civilization, which is the thought that can be felt, the idea that can
be filled with soul. It is for this reason that we have to-day, more
than ever, the spiritual stage.
Art based on emotions is art for the masses. The youthful motion
picture is the counterpart of the origin of our nature, which is the
sensuality that can be felt and filled with soul. It is for this reason
that we have to-day the sensual, the sensuous, moving picture.
There are limits to feelings. For we live in an age that demands
crystal clarity and coy niceness. The limp, flabby and effeminate we
dislike. No age was less naïve than ours, and yet none was less
sentimental.
The motion picture is art for the masses; it is mass art.
Sectarianism, chilly aestheticism, attempts at escape from
inadequate culture—these are not known to the motion picture. Art
for the masses, art for the money. That is the entire story. But does
art for the masses mean art such as the masses themselves would
create? Rabble art? The film in which the plebeian soul alone takes
interest and from which it derives pleasure is not a good film. Nor is
that a good film which is understood only by the aesthetic soul. To
be good, satisfactory, excellent, a film must carry along with it and
enrapture all, those whose hearts are simple and those whose hearts
are intricate, complex, full of intertwined sensations. To do this is
hard. If and when done, it is done through the medium of great art.
This book was written by a man who writes scenarios. It is not

beyond reason to believe that such a book could have been written
only in Germany, where one, in matters of art, not infrequently
forgets the action out of an all-absorbing interest in meditation. It
arose from an inner desire, from an inner exertion: I wished to
become clear, for the benefit of my own manuscripts and using them
as a basis, as to how a film should be constructed so that art and
profit, which are inseparable in this field, might get along with each
other; might endure mutual juxtaposition. And I wished to give other
people the benefit of my views.
I have devoted my attention mainly to those motion pictures that
have been most readily accessible to my fellow-countrymen and, to
me. In other words, I have discussed German films. The time at
which my wounded and bleeding country will again take its place
among the happy and prosperous nations of the earth is still remote.
Moreover, it is only in rare instances that the best films of foreign
lands are shown in our theaters. The taste, however, in the matter of
the moving picture is virtually the same among white people the
world over, and we are all striving, even competing, for the identical
goal—to please.
I am quite mindful of the fact that a purely theoretical discussion
has its limitations in value. Every personal opinion is one-sided, and
no sooner has the connoisseur found his way than he throws the
views of others overboard and proceeds on his course just as if he
had never heard of them. Nevertheless, the motion film of all lands,
whether it be American or European, makes its appeal to human
beings every one of whom has two eyes in his head and a heart in
his breast. Nor is this all. Every individual man, wherever he may
chance to live or whatever his origin may be, has one fundamental
ambition, one basic goal: joy, beauty, adventure. Perhaps I have
succeeded in saying a few things regarding the general nature of the
motion picture which may be helpful by way of showing how a
successful picture is built up and produced. If I may be permitted to
do so, I should like to express the hope that I have made a few
suggestions of enduring value, even and also to those across the
Atlantic. Nor is it judicious to overlook the fact that an idea is by no
means worthless when it incites to contradiction or refutal.
The smallest creation is more valuable than the most beautiful
book of discussion. It is always permissible, however, to form certain
ideas regarding one’s own creations, and to discuss these ideas in a
theoretical way. The one point to be kept in mind in this connection
is, that we must never regard such discussion as the formulation of
definitive and irrefutable opinions; a treatise of this kind dare not lay
down an inelastic law for the film of the future. Limitations dare not
be placed on the free creative ability of the mind and the soul. A real
creator can break the chains of theory easily and without notice. For
him there is but one rule that always holds: Do your work well, and
then you need not pay the slightest attention to the law as this is
handed down.
W. S. B.
Burg Rienick.
In the Summer of 1923.
The Soul of the Moving
Picture
CHAPTER I
TOOLS OF THE TRADE
The special characteristic of a fool is that he always tries to do the thing for
which he is not qualified. Art likewise commits a grievous folly when it attempts
something for which it is not fitted; when it fails to undertake what it alone can
accomplish. For this specific accomplishment on its part is, as a matter of
necessity, expected of it. Whether this expectation be entertained consciously or
instinctively is beside the point.—Walter Harlan.
The moving picture is scarcely twenty-five years old. Born of a

matchless technical invention, it demands to-day, with the unrelieved
arrogance of the proverbial upstart, complete recognition in the
society of the arts There, in the company of the established arts, it
finds illustrious companions each of whom looks back upon a proud
tradition of hundreds and hundreds of years. The old arts, however,
are reluctant about admitting the moving picture to their family. And,
truth to tell, the film is bound to admit that its nursery was not as it
should have been; for filthy hands taught it to walk.
No man of intelligence refused to pay due honor, indeed to
express his vigorous admiration for, the invention of the moving
picture and the talking machine. The moment, however, that these
two creations of technical science asked to be regarded as means to
a new and real art, this honor and this admiration were at once
driven from the field by a frigid rejection. The masses, to be sure,
sicklied over in no way with a pale cast of thought, conducted
themselves differently: they forsook Olympus then and there and
rushed with jubilant hearts into the temples of the new “art.”
The film had arrived. The scholar refused to recognize it; he
closed his doors against it. It was impossible, however, for him to
prevent its spread over the entire earth. Owing to the very fact, that
intellect could at first not be persuaded to take a sympathetic
interest in the film, the film went on its way and became, quite
naturally, the tool of ignorance if not of imbecility. To its initial
champions any such concept as cultured civilization was unknown.
Their sole objective was to transform the novel device into jingling
guineas, and to do it as quickly as possible.
It was not long, however, until the public that frequented the
music halls and variety shows grew tired of the “cinematographic”
disrobings and their attendant indecencies. What was to be done?
Writers immediately set about creating backstairs tales of the worst
conceivable type. There was but one slogan: Money! And the money
was forthcoming. Technical science, which has really never, of
relatively recent years, been without a keen nose for good business,
came to the aid of the scenario “authors.” As a result of this, the
presentation of the pictures soon acquired a stage of perfection
which the most enthusiastic dreamer had never once anticipated.
But of art, of culture, of an exquisitely visualized civilization—not a
trace not even a premonition.
Then came the moving picture actor, that living embodiment in
one person of idealism and materialism, in whose acting people
began to have a sort of pre-conception of an entirely new method of
giving visible and tangible expression to human feelings. The belief
that a new art was in the making was still vague; one’s idea of it was
still dim; but it was there. The “scholarly” world, whose unique
privilege it always has been, is, and will be to denounce, decry, and
damn the new so long as it has not been perfected and despite such
evidences of unquestioned greatness as it may reveal, at once
shrieked as from a single throat: “Surrogate!” It was in Italy that a
certain poet with a world-wide reputation permitted his work to be
placed on the screen. At this some began to be skittish, skeptical.
And from afar off, as it were, came the first trumpet tones
announcing a new art.
And thus the moving picture, attacked by the entire “cultured”
world, went on its way, unimpeded by the objections that were
raised against it, to the heights on which it at present rests. The
scholar proved that there is one thing at least which he is not: a
prophet, a seer, a herald of the new. To be a pioneer does not mean
that one must cast slurs on that which has not yet found itself; it
means much rather the ability to catch, by fair means and fanciful,
the first distinct notes of remote clarity.
No one will be able to have great faith in the motion picture who
is not at the same time able to seal his heart against the veritable
flood of artistic disappointments—and who is not ready to pay his
homage to the few great scattered events and episodes that have
gone toward the effecting of the clarity of which we have spoken? If
you say to me, “Nine-tenths of all moving pictures are bad,” I shall
reply by saying that “One-tenth of all moving pictures is good.” If
this repartee on our part is possible from the point of view of hard
fact, then it certainly must be possible to squeeze out all the faulty
fruit from this budding garden of the screen. It is, in truth, ridiculous
to try to prove the worthlessness of the moving picture as a whole
by selecting, with much conscientious care, the worst pictures and
holding them up as typical—and abominable—“illustrations.” These
“worst pictures” merely make us realize the not exactly crushing
truth that the moving picture, like any other artistic tool or
instrument, may be misused. If we wish to prove the enduring value
of poetry, we do not cite Kotzebue or Conan Doyle. We can
appreciate the value of the motion picture only by studying its best
works.
It is easy to criticise; to nag is a sport in which all may indulge.
But mistakes are necessary: they return without ceasing and lay in
our lap first the foreboding, and then the real knowledge of those
inner laws that go to make up the truth. And they do this however
deeply buried the laws may be.
Technique stands at the service of civilization; it is the product of
cold, calculating, judicial intellect. Art serves culture; it is the product
of the warm, seeking soul. The moving picture wants to serve
culture; it wants to speak to the soul, sprung though it itself is from
cold technique.
When, at the close of the preceding century, its inventors
projected the first “living” pictures on the canvas, they did not even
faintly suspect the measure of development that was in store for the
child of their mind. The film was not created for the benefit of
culture. If in the meantime the visualization of human feelings has
come to occupy the lion’s share of attention, it is merely a proof of
the fact that the human soul has taken possession of the film in
order, through it, to acquire new forms of expression for its feelings.
Who would have the audacity to contend that the number of arts
was definitely decided upon centuries ago, and that new ones
cannot be added to the already existing list? Who will deny that
every art has sprung from some technical invention or other? Even
music, the most beautiful flower of human culture, was impossible
and unthinkable until men had invented sounding boards, vibrating
strings, and similar devices. Whether the technical apparatus
associated with a species of art, and making that art possible, be
elaborate or simple, concerns art itself in no way. For it is entirely
and altogether a question as to how large the space is which it
offers the soul.
Fig. 1. Scene from The Cabinet of Dr. Caligari.
[See p. 79]
Long before the moving picture was a reality, there was an art of
dumb, mute, moving bodies which achieved its ends through crude
and, viewed from the present point of view, distinctly laughable
method of procedure. I have reference to the pantomime. We see
that such forms as the Pantomime has thus far employed, such
devices as it has thus far called to its aid, have by no means
exhausted its artistic possibilities. The mimic action, or incident, was
laid at such a great distance from the spectator that the finer values
of the enterprise failed of their real significance; they could not, in
truth, be applied. The pantomimic actor—even much more so than is
the case with the actor on the stage of the spoken drama when he is
obliged to depend upon gestures for his effects—saw himself forced
into an excess of pathos with which it was quite impossible for his
soul to keep pace. We felt such acting was affected; we dubbed it
“hollow, theatrical pathos.”
In order to make its mimic expression more refined, which means
more artistic, pantomime called music to its aid, and music is an art
of feeling. It thereby ceased to be real pantomime (that is, a pan or
an “all” affair), especially in connection with the accompanying song,
the canticum. In other words, the hitherto existing forms of
pantomime have proved to be inadequate and unsatisfactory as
agents of transmission between the contents of the art they are
supposed to represent and the spectators who are supposed to
enjoy the representation.
Then came the film. Anything that had previously been lost in the
distance, anything in the way of tender emotions and delicate
feelings that the spacious room of the theatre had swallowed up, is
now caught up by the lens of the film. A symphony of humanity can
be made to vibrate in the play of a nervous hand, a chaos of
opposing forces can be visualized with an equally small display of
effort. What art had ever before been able to do justice to the
animated and “living” hand? What other phase of art had been able
to catch, hold, and delineate the twitching corners of the mouth?
It was not until the film had been brought to its present state of
perfection that there came forth from the pantomime this new and
exalted art, the art of expressing feelings through gesticulation. The
inexpressible, the unspeakable, that regarding which even poetry
itself can do no more than merely touch or indicate, has been taken
up by the film and made a reality in the sphere of art. Even years
ago, the great German actor Bassermann played, in the moving
picture, a scene in which the transition from unmarred joy to
unrelieved grief was expressed in his well-nigh immovable face.
Where was such an accomplishment possible before the invention of
the film? On the legitimate stage? In the pantomime?
The exploitation of the much-abused Grossaufnahme (enlarged
photograph or close-up) is, of course, perfectly justified when it is a
question of portraying intensified feelings, provided the exposure be
taken with becoming caution. But it has meaning—that is, it is to be
applied then and only then when feelings are to be expressed which,
in actual life, are revealed gently. The close-up is out of place in
caricatures and facial distortions; it is intended solely for the more
tender emotions; gruff or even indifferent feelings cannot be
reproduced with its aid.
It is a matter of congratulation that the tendency in recent years,
not merely in Europe but also in America, has been away from the
old method of breaking up each individual scene into a half dozen
close-ups. There is, moreover, a certain definite standard with regard
to this kind of pictures beyond which it is impossible to go with
impunity. When, for example, a single head or face is detached from
its pictural connection and made to fill the entire surface of the
canvas, the effect is disagreeable, the impression unsympathetic.
Thus we see that the pantomimic possibilities are fulfilled,
through the aid of the motion picture, up to that very point beyond
which these possibilities no longer exist. The significance of this is
manifest: it is only with the aid of the motion picture that the very
possibilities in the way of the animated, or moving, body can be
visualized and exhausted. This in turn proves that the film was
necessary—that as a novel and perfect form of expression of the
human soul it is to be reckoned as an art of the arts, and among the
other arts, without hesitation or mental reservation. The
gramophone is also a technical invention; but we shall never be able
to list it among the arts because it was not necessary as an aid to
music. All that it does is to carry what it receives farther along and in
an unchanged condition, just like the waves of the radio station. The
gramophone does not bestow a deeper possibility of expression on
the sound it reproduces. The motion picture is a qualitative gain for
art; the gramophone is merely a quantitative gain.
But, the people say, the film has its weak points: It is colorless; it
shows a flat surface and not a well-rounded fullness; it is mute. I
detect at once two disadvantages and one advantage.
I am aware of the weakness that arises from the fact that the film
reproduces flat surfaces. Life itself is rich and round, bodies move
about in pliable fullness, there are such things as propinquity and
remoteness; some things are near, others afar off. The film brings
out all of this only in an imperfect way; indeed to a certain degree
these concepts and realities are distorted by the film. There was a
desire to transform this defect into an advantage, and the shadow
picture, as well as the etched and colored film, was the result. Each
was rather attractive, neat, even winsome; but in the framework of
our art they were altogether without real significance. For the
strongest impression of the motion picture is and remains the play of
real human beings; and we cannot expand or contract our moving
picture people just before they begin to play, and just so that they
may have the right “size.” Let us rather be content with longing for
the inventor who will present us with the plastic film.
I appreciate the weakness that arises from the colorlessness of
the film. Life itself is rich and variegated; it shines forth in colors of a
thousand hues. The flowers are beautiful; the blush on the cheek of
a lovely young woman is filled with magic charm. We can indeed at
this stage only seriously regret that this diverting play of colors has
thus far not been a gift out after which the film may reach. The film
as we know it is without color.
But Heaven forbid that we should become unmindful of the
austere fact that all arts have their weak points alongside of their
strong ones. How we should like to hear the angels on the Altar of
Ghent sing! How we should like to see the aurora of Michael Angelo
broaden out the glorious body! The truth is, however, that the
motion picture, even in its present imperfect state, gives us an
abundance, indeed enough, of pleasurable sensations. For does it
not depict the play of beautiful bodies, the wonders of the storm-
tossed sea, of the wind-swept plain? Does it not show us the flying
clouds and foaming waves? It does; and we can consequently
endure, for the time being, its colorlessness and its imperfections
with regard to space, especially since there is well-founded reason to
believe that sooner or later the inventor will come forth and
eliminate both of these defects.

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Prelims.indd 3 26-Sep-17 10:13:40 AM

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Anjali Tempe Bidisha Singha

Ashok Kumar Deepti Goswami

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Devender Verma Krishna Agarwal

Komal Rastogi Nilanchali Singh

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Nupur Ahuja Priyanka Khandey

Preeti Singh Sangeeta Bhasin

Priyanka Chaudhary Sangeeta Gupta

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Shakun Tyagi Sparsha

Shristi Sudha Prasad

Simar Kaur Tarang Preet Kaur

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Chapter 2. Hypertension in Pregnancy 15

Chapter 3. Diabetes in Pregnancy 25

Chapter 4. Fetal Growth Restriction 33

Chapter 5. Multifetal Pregnancy 47

Chapter 6. Pregnancy with Intrauterine Demise 58

Chapter 7. Rh Negative Pregnancy 62

Chapter 8. Pregnancy with Previous Cesarean Section 72

Chapter 9. Morbidly Adherent Placenta 78

Chapter 10. Preterm Labor 83

Chapter 11. Preterm Premature Rupture of Membranes 90

Chapter 12. Pregnancy with Fetal Congenital Anomaly 96

Chapter 13. Recurrent Pregnancy Loss 106

Chapter 14. Pregnancy in Extremes of Ages 111

Chapter 15. Postdated Pregnancy 116

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Chapter 16. Antepartum Hemorrhage 121

Chapter 17. HIV with Pregnancy 132

Chapter 18. Pregnancy with Heart Disease 140

Chapter 19. Thyroid Diseases in Pregnancy 152

Chapter 20. Neurological Disorder in Pregnancy 162

Chapter 21. Renal Diseases in Pregnancy 174

Chapter 22. Liver Disorders in Pregnancy 182

Chapter 23. Critically Ill Patients 194

Chapter 24. Postnatal and Postoperative Ward Round 205

Chapter 25. Neonatal Resuscitation for an Obstetrician 213

Chapter 26. Postpartum Contraception 220

Chapter 27. Surgeries in Obstetrics 226

Chapter 28. Gynecological Disorders in Pregnancy 243

Chapter 29. Miscellaneous 253