Exhibitor's Trade Review (Jun-Aug 1923)

Record Details:

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m o S ere The stirring strains of "Aida" were chosen by Victor Schertzinger as the' musical accompaniment for one of the screen's greatest epics of recent years. The martial swing of that overture quickened the pulse of many thousands who awaited the great cinematic spectacle about to unfold before them. If the orchestra had played some recent, popular air, it would have spoiled the whole "atmosphere". Jazz music couldn't be associated with the dignity and magnitude of such a picture. But music and appropriate lighting are not the only things having a subconscious effect on an audience. The character of the photography as expressed in release prints has more to do with the public's enjoyment of a picture than many realize. The choice of colors in tinting various scenes is a delicate problem. But it is only one of the problems confronting director and cinematographer in seeing that their work is properly presented photographically. Some of the West's foremost producers have learned through experience that the tempo of the story is best carried through tO the screen when the same laboratory develops the negative and makes the release prints, when all this is done under the direct supervision of the men who made the picture. That's why the work of these producers goes through STANDARD FILM LABORATORIES from camera to screen. They have found that STANDARD PRINTS are the best medium of screen expression. 1