Year book of motion pictures (1951)

found effect on the profitable end use of their particular products and processes. It is to the eiif^hieer that motion pictures must turn for ideas that will stimulate their drooping spirits and revive their declining economy. Every studio, large and small, every manufacturer, every television broadcaster and every motion picture exhibitor must recognize this fact— or the direst prediction of the most avowed pessimist may yet prove a reality. THE ACADEMY in 1950 By CHARLES BRACKETT President A N TAKING A GLANCE at the Academy of Motion Picture Arts & Sciences in the year 1950, a glance which the limitations of our space in this Year Book must render cursory, let us take certain routine facts for granted. The Academy has continued to add volumes to its outstanding collection of books regarding motion pictures. It has added to its museum of motion picture memorabilia, and to its library of great films. Thanks to the contract with the Bulova Watch Co., it has reduced the mortgage on its headquarters and theater by several thousand dollars. It has continued its educational program, cooperating with the students and faculty of schools and colleges throughout the United States. tell you that, due to the dubbing problems immediately after the war it had become a regrettable custom to sell American films in Italy without the scores originally written for them. Instead, before distribution, Italian scores run up from stock libraries were substituted. This practice had put not only the musicians of Hollywood in amazing disrepute, but had seriously damaged the prestige of American films in Italy. Believing that it would be a serious mistake not to have American film music properly and fully represented at the Florence congress, the .Academy arranged to send to Florence a musician chosen by the music branch, Daniele Amfitheatrof, to present his music and the work of his fellow composers. He took with him 7,200 feet of film excerpts from 15 pictures which he ran for the assembled French, British, Dutch, and Italian delegations, plus composers, musicologists, and critics from all over Europe. Before each film clip was run he gave data on the picture from which the particular film was taken and prepared the delegates for the mood of the scene to come. The presentation lasted about two hours, and received an o\ation from the international audience. The .\cademy is especially equipped to render this kind of cultural service to the industry and hopes to follow, in future years, the precedent so established, 854 Not to waste space on the recapitulation of day-in, day-out routine, let us consider one activity of the Academy in more detail. Let's take, for instance, the Academy sponsored trip of Daniele Amfitheatrof to the Fourth International Music Congress in Florence. This, 1 suppose, could be classified, rather stuffily, as part of the Academy's ambassadorial function. Here's how it began: an invitation came to the musicians of Hollywood to send examples of their music and a representati\e to Florence to a music congress which for the first time was to emphasize music written for the screen. It was a type of international conference for which there was no precedent in the industry. Many people confused it with the International Film Festivals held each year in Europe, and since our industry had decided to be lepresented at only one film exposition, the invitation was to be politely brushed off. Representatives of our nuisic branch alerted us that this was an important occasion, exclusively musical, and that it would be wise for Hollywood composers to be represented. You will understand their importunity when I