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elementary aim during the many centuries of its development, so, no doubt, the film will elaborate its elementary aim — which is, nevertheless, still the same as the aim of poetry — to convey images, but by visual and not aural means. The distinction Mr. Dalton tries to draw between the scenario and the film is surely irrelevant, as though we were to try and distinguish between the words of the poem and the images they express.
I am not so sure that Homer and Shakespeare and all the rest did not compose scenarios for unproduced films, but the fact that their scenarios are, incidentally, literature should relieve Mr. Dalton of any anxiety he feels for the future of literature.
My remarks on technique were perhaps a little extreme, but I did guard myself by saying "most" techniques, and whilst that might include everything, from learning to ride a bicycle to producing a film, it might still exclude Beethoven. The sense in which I use the word 'technique" is the strict one. To speak of Manet's technique as differing from Picasso's, or of each painter having a technique of his own, is merely an inexact use of the word. In such cases it is not the technique that differs, but the use made of it.
CINEMA'S INFLUENCE ON PHOTOGRAPHY
a
The movies," says E. O. Hoppe, in his introduction to Modern Photography 1933-34 (London: Studio. 7s. 6d.), "have saved photography in spite of itself!" Bromoil, gum-platinum, soft-focus, and all the technique imitative of the painter's art have vanished. At last the legitimate sphere of photography has been recognised, and the current volume is exciting evidence of the vigour and effectiveness of pure photography. The camera eye differs from the human both in range of vision and mensuration of perspective, and it is the exploitation of these differences in revealing the hidden beauty of the commonplace that gives the new realism its artistic authenticity. Imagism, mastery of technique, and absence of sentimentalism are the keynotes of the collection, which contains examples from all over the world. Can it be a still latent sentimentalism, however, which prolongs the life of the professional model and the carefully posed "artistic studies in the nude" which appear even in this volume? Though beautifully produced with the Studio's customary car it is a pity all the photographs did not receive the full value of 1 and white instead of being printed in various tints.
N. W
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