International photographer (Jan-Dec 1934)

September, 1934 The INTERNATIONAL PHOTOGRAPHER Tiveitiy-seven one may or may not be aware that there are several definite mediums of expression which are solely confined to the screen art. One of these is now being analyzed as to the logicality of its use by a director in one of our big studios. Yet it is the very thing which made the motion picture what it is today . . . the thing which so definitely divided it from the other medium of dramatic expression, the legitimate stage. It is the distinctive ability to alter the audience's perspective on the subject instantly, by simply cutting from long shots to closeups, etc. In other words, the simultaneous presentation of thought material without regard for the limitations of time or space. The director to whom I have referred claims that this is an entirely illogical procedure, and that when the angle of view is to be altered, the camera must travel from the long shot slowly dollying into the close-up, just as if the audience got up out of their seats and walked up onto the stage to get a better look at the actors. This man would have motion pictures presented as they were stage dramas. He would rob the motion picture of the feature which makes the screen art an art. He would take from it the medium of expression which is found in no other form of dramatic presentation. It h the very heart and soul of cinematic art. Tempo, l)oth in shooting and in cutting, centers around the direct cutting from shot to shot. To be illustrative, suppose that a group of people ^re shown talking in a room, and the story calls for a strange girl to be shown screaming suddenly in the next room. What would happen to the tempo of the scene, if the camera had to dolly all the way through the set, go through the door into the next room, and then focus itself on the frightened face of a girl who by that time begins her scream ? All shock or dramatic punch would be lost. How much better it is to instantly cut to a closeup of the girl's terrified face as she starts to scream. Then cut back to the reaction of the group, and in this way the story is kept moving, which is so important in situations such as these. A drag here would mean the complete ruination of the scene dramatically. I can hardly see how the motion picture will ever separate itself from this technique. Just as there are no rules for art, there can be no definite rules for the directing of a motion picture. What one director does wrong, another will get away with. That is mainly why this article has dealt with generalities, rather than attempting to set down a set of rules to be faithfully abided by. One thing is sure, and I hope my readers will agree with me, that there is a definite, confirmed Importance of Being a Director. Charlie Boyle, otherwise known as Otto Phocus, has just returned from Chicago where he has been shooting for Jack Townley comedies. For further information read his column "Out of Focus" in this issue. HAIL INDIA! The Moving Picture Monthly Annual for 1934 published in Bombay, India, has reached this office and we not only hasten to acknowledge receipt of it but also to compliment the publishers, Jaishanker K. Deviredi, and the editor, R. K. Rele, B.A., upon their enterprise in producing such a beautiful and artistically excellent magazine. The book is immensely interesting and its pages constitute a liberal education in the cinema as it exists in India. Commercially, also, the magazine appears to be prosperous and to the average reader in America its pages are amazing — most of us had no adequate idea of the wonderful development of the cinema art in India. At this rate of growth India bids fair to outstrip the world, some day, and it may not be long before she comes knocking at our doors with pictures that will be most welcome additions to our American cinema bill of fare. Hail, India! She is on the way! Elmer Dyer, who claims that the sky is a nice, safe place, has recently signed a year's contract with Warner Bros. He had barely recovered from injuries sustained in his recent motorcycle spill when he grabbed his plane and beat it to San Diego to start shooting 'Air Devils." S.M.P.E. BOARD NOMINATES Homer G. Tasker of the United Research Corporation, Long Island City, New York, was nominated for the office of President of the Society of Motion Picture Engineers for the year 1935 at the recent meeting of the Board of Governors of the Society. Since Tasker was the only nominee for President, his election, to be held soon by mail ballot, is assured. This is also true of nominees for other executive offices since only one nominee each was chosen for the offices of Executive VicePresident, Editorial Vice-President, Convention VicePresident, Secretary, and Treasurer. The nominees for these offices were, respectively, Emery Huse, J. I. Crabtree, W. C. Kunzmann, J. H. Kurlander and T. E. Shea. Nominees for the Board of Governors were as follows: Max C. Batzel, R. C. A. Victor; Sidney K. Wolf, Electrical Research Products ; Terry Ramsaye, Quigley Publications, and Harry Rubin, Paramount Publix Corporation. Election of all officers will be announced at the Fall Meeting of the Society to be held at the Pennsylvania Hotel, October 29th. They will assume their duties on January 1, 1935. Max Factor's MAKE-UP A. Easy to Apply Easy to Remove ^ Stays on All Day Photographically Correct MAX FACTOR'S MAKE-UP STUDIO • HOLLYWOOD