American cinematographer (Jan-Dec 1926)

August. 1926 AMERICAN CINE M AT O G RAPHE R Five The EDITOR'S LENS focused by FOSTER GOSS lieu? or Old? ' Memories that are convenient serve their masters well ; but, in this day of periodic praise for foreign pictures, there are still those who remember the reception accorded several years ago the showing of the German film, "The Cabinet of Dr. Caligari," at the old Miller's theatre, Los Angeles. How different are the current encomiums from the hissing, hooting and egg-throwing that attended poor old Dr. Caligari's artistic entrance to the fair city of the angels ! If Verily, the pendulum doth swing from extreme to extreme. The antagonistic hysteria — for which the war could certainly not have been held entirely responsible — happily has passed until now we stand at the opposite end of the cycle. Behold, then, the extravagant plaudits which are heaped on those foreign-made pictures which are commercially predestined to be hailed as American triumphs. If the condemnation of five years ago was undeserved, then much of the contemporary eulogizing lacks timing. If Which brings us to an article that appeared some time ago in the Film Daily lauding camera "angles" as practiced in certain enumerated instances in German pictures. While no body of men is more pleased than the American Society of Cinematographers to recognize advancement, whether made in Europe or America, in the field of motion photography, it might be well for some writers to more carefully appraise the antiquated methods that they are prone to dress up in the clothes of novelty. If Many of the angles mentioned in the article in question, according to Gilbert Warrenton, A. S. C, would appear palpably crude if they were incorporated in American productions, for the simple reason that they were discarded as obsolete in the Middle Ages of cinematography. Critical appraisals which tend to popularize methods, which definitely have proved out-of-date, bring about retrogression rather than progress in cinematography — and the motion picture industry, whether in this country or abroad, needs all the progress that can be given it. 1f Cinematography can use criticism, but it must come from an even-keel. Warped perspectives are not any more to be desired than the projection of a picture that is out of focus. Give European as well as American cinematography fair and just appraisal, and that which comes from beyond the waters will continue to go forward steadily as it has in the past couple of years. ^f After all, cinematography is a universal language, and achievements in its field one place are achievements the world over. Knights of Courage 1f To paraphrase the old saying, "when Greek greets Greek," the greeting perforce breathes of manly sincerity. In other columns of this issue, an aviator bespeaks the admiration of the crusaders of the air for the courage of cinematographers. *I That this admiration — which comes from courageous men — is well bestowed is again indicated in the report concerning the exploit of John A. Brockhorst and M. A. Baron, of International Newsreel, in flying in the teeth of death to get motion pictures of the exploding arsenals and magazines during the recent disaster in New Jersey. Cinematography, as well as aviation, thrives on such spirit. If The deeds of the International Newsreel cinematographers not only served to give the public a graphic report of the inferno but also immeasurably aided the military authorities in combating the continued explosions. Courage plus organization make such things possible.