The Cine Technician (1953-1956)

62 THE CINE-TECHNICIAN May-June, 1953 In our new problem, are we going to be stampeded again ? Are we going to borrow a certain amount, but once more lose so much that could go on growing and giving? Is the cinema theatre again to throw out its old tenants, because a brash and showy lodger wants to take over? Or are we technicians going to insist that we control the development of stereoscopy? We believe that those who are now running 3-D are exploiting only its sensational aspects (often in a private war against TV). The more intelligent producers, of course, stand by aloofly, watching; but we do not think this laisser faire attitude is good enough. It is a strange paradox that, as well as being sensational, 3-D has the opportunity of being developed so as to bring a much-needed breath of realism into the cinema. But agile minds are needed for the films of the future. George Elvin recently told an A.C.T. meeting that though Moscow's Stereokino showed 3-D films as novelties (as did, of course, the Telekinema during our own Festival of Britain), Soviet producers were actively examining in what ways the extra dimension could be used in ordinary story films to heighten the drama where necessary. While we have to puzzle out the same challenging questions, we should first examine some of the limitations as well as the opportunities of 3-D. To begin with, when you cut from a scene set in one plane to another in a different plane, the brain cannot adjust itself quickly to the shock. A dissolve from one scene to the next is not likely to be very satisfactory. Tracking and panning are devices that, used in moderation, would seem to be more rewarding. But this means that the director will have to work out a different approach to a sequence than in " flat " films. Takes will be much longer and the pace of a sequence will come not so much from cutting as from the action itself and the performance of the actors — in much the same way as in the theatre, but with one important difference: in the theatre, the action takes place in depth, but normally it is all behind the proscenium arch; in stereoscopic films, the proscenium arch will not exist, and like the much-advertised lion, it will come out into the very lap of the audience. As well as all the technical mysteries that face the cameraman, art directors, electricians, sound and laboratory technicians, clear-thinking is mostly demanded from the directors, the actors, the scriptwriters— and the editors — of the new, revolutionary age. Though much more planning will be required before the picture ever reaches the floor, let alone before it reaches the cutting rooms, the editor's job is far from being redundant. The editor will have to be engaged as soon as the script-writer begins, for the editor's work will start then, and no amount of clever cutting, as we understand it now, after the film has been shot, will make up for a lack of foresight in scripting. In 3-D, we believe, most of the creative work will be done in the writing and on the floor. A number of us have been saying something similar about the existing type of films — and so, in a sense, 2-D films may actually learn from 3-D ones. In another sense 3-D can be a boon. So many British and American producers have got on to the slippery slope of sensationalism: instead of basing their films on real life, they strive after thrills for their own sake; when one thrill palls, a more excit ing one has to be devised, and so it continues until the audiences are bludgeoned into apathy. Because 3-D and stereophonic sound are nearer to reality, they can be used to break away from the sterility that affects many current pictures. More human qualities can once again enter our films — the characters on the screens of the future can be more true to life and, in all senses of the world, more rounded. These things can come about, but those of us who " believe in pictures " must discuss our problems, and fight to establish that it is our view and not that of the equipment salesmen which prevails. BROADSIDES FROM ADRIAN BRUNEL Adrian Brunei, respected veteran of British films, has embarked on an unusual venture, one that will interest many of our readers. From his Beaconsfield home, Adrian Brunei is publishing an attractive series of broadsheets. Each one contains pithy quotes from the talk and writings of an illustrious English or American author, thinker or wit. The Broadsheets, measuring 22h inches by 6 inches, are tastefully designed and printed, and each one is headed by a line drawing. Typography is outstanding, and each Broadsheet makes an attractive decoration for home, office or workshop. Those published so fare include : Byron, Paine, Sidney Smith, Disraeli, Bacon, Cobbett, and Mark Twain. More are planned. Each Broadsheet sells at Is. 6d.; or Is. 8d. by post. A delight to eye and mind, these Broadsheets are heartily recommended to our readers. R. G. SITUATION VACANT HER MAJESTY'S COLONIAL SERVICE A VACANCY EXISTS for a Film Director ■£*■ (Malayan Film Unit), Department of Information, Federation of Malaya (CDE 148/60 09). Candidates must have wide experience in the making of documentary films as a cameraman and director. Knowledge of dubbing processes an advantage. Duties will be to direct the making of documentary films. Appointment is non-pensionable and on agreement for three years in the first instance. Salary, according to qualifications and experience, in the scale £840 x 42 — £1,340, plus expatriation allowance of between £265 £310 according to salary. A cost of living allowance is also payable. Income tax at low local rates. Quarters provided, when available, at moderate rent. Free first-class passages for officer and wife and children under age of 10. On first appointment passages limited to four persons excluding officer. Vacation leave in United Kingdom at rate of 45 days for each year of resident service granted after three years' satisfactory service. Apply in writing to the Director of Recruitment. Colonial Office. Great Smith Street, London, S.W.I, giving briefly age, qualifications and experience. Mention the reference number CDE 148 60 09.