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Some are flashed for only a second (for instance, by Josef von Sternberg), and gradually the structure of time and space in the simple scene is interfered with by fitting in other scenes which happen at different places at the same time. Shots of the same place are taken from different angles by now. The unity of the plot becomes a mosaic of details.
Up to the present artistic adjustments have not been satisfactorily made in radio. It is not possible in radio to reproduce from different angles, but only from varying distances. But the primary reason is that radio has not yet made practical use of recording radio plays on a sound-track which could be cut and edited. As long as the actors continue to crowd round the microphone during broadcasting for scene changes, radio will not pass out of its first stages.
Film and photography have already reached a high standard, and, after exaggerated attempts to use the new effects, there follows a period of modification and simplification of the devices which produce the deepest impression on the audience. Radio, the youngest offspring of this new family of art, has not yet passed the initial stage, and is still treated, as were film and photography in their early stage of development, as a mere instrument of reproduction. Its artistic possibilities are still denied by many people, and little is being done to disprove their contentions. But the parallel of radio and film strengthens the hope that broadcasting will progress in the same way. So far as reproduction of reality is concerned, it will never reach the standard of richness and originality of the visual art. There is, however, every reason to hope that it will still become culturally significant.
Translated by Margret Kappels.
ELSIE COHEN AND THE ACADEMY
The Academy Cinema, Oxford Street, which for the past three years has pioneered the Continental film movement in London, announces the resignation of Eric Hakim as managing director. Miss Elsie Cohen, who originated the international scheme at the Academy, which has become so widely known under her organisation, will continue under her own direction to present the most outstanding Continental films. Among those to be shown during the present season are Anna and Elisabeth, with Herta Thiele and Dorothea Wieck; Prenez Garde d la Peintnre, adapted from "The Late Christopher Bean;" a new Lotte Reiniger silhouette film; and the first presentation to the British public of the cartoon films of the Hungarian artist, Szegedi Ziits, who is now working in London.
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