Movie Makers (Jan-Dec 1952)

MOVIE MAKERS 29 rating stops on the shelves are V2 inch in thickness, thus creating adequate clearance between reels. All surfaces, finally, have been lined with thin felt to protect the film from scratching. These measurements are, of course, for the standard 100 foot 16mm. projection reels. Adaptations of them could easily be made for similar 8mm. units. Dimensions of the table are not really important, save to urge that they be as spacious as is practical. I allow 50 inches, for example, between the big rewinds. This not only permits placement of the small, supplementary rewinds, but also a good long drying distance during the film-cleaning operation. But you will want to work out these details to fit your own needs. The important thing is to get started. And to get started you need system — perhaps this system. n Should "difficulties decide? [Continued from page 21] because of circumstances — and his accomplishment incomplete, the result may well be no proper movie at all. THE MEASURE OF A MOVIE But for this, are the judges to blame? In our hypothetical example, should we give the glacier picture an A for aim and wholly disregard its unsatisfactory accomplishment? Should we, in like manner, penalize Filmer B for his relatively modest aim and disregard his well-rounded accomplishment? We of the ACL do not believe so. We hold our primary job to be the judging of movies. And, in the last analysis, accomplishment is the measure of a movie. If the aim also is high, then the movie — and the accomplishment — will be by that much the greater. And we shall be glad because of it. TWO KINDS OF DIFFICULTIES But assaying this delicate balance between aim and accomplishment is not the whole answer to the problem of weighing production difficulties in film judging. For there are, it seems to us, two distinct kinds of difficulties which beset the amateur filmer. First are all those which we shall call "physical" difficulties — bad weather, balky cameras, tough terrain and (let's face it!) occasionally uncooperative companions. These are, unfortunately, familiar to all of us. And, to a rather heightened degree, they impress us as similar to those encountered by our hypothetical Filmer A. Tough and to be regretted. But . . . when we are sitting as Ten Best judges, we believe also that these difficulties must be disregarded. For they are, simply, the occupational hazards of the hobby — greater, perhaps, as your aim is greater, but hazards nevertheless. They occur with all of us. If, to a satisfactory degree, you succeed in surmounting them, you may produce an award-winning movie. If you do not so succeed, you may not produce a true movie at all. But as judges we can evaluate only what you set before us. EARMARKS OF ASPIRATION Secondly — and quite different — there are those difficulties which we shall call "technical." We do not refer here to those simple errors in exposure, focus, camera handling and continuity which are the mark of the immature movie maker. To any seasoned film judge these are instantly recognizable for what they are — errors committed through inexperience or through lack of effort. The technical difficulties we now have in mind are far more subtle in their origins. They are, to put it as exactly as we can. the results of a producer's creative urge outreaching on occasion his current technical competence. These errors — perhaps a mistimed dissolve, a ragged multiple exposure or an imperfect bit of imagery — have occurred because the filmer tried too hard, not because he failed to try hard enough. For the moment his accomplishment has wavered. But if his aim is high, if his film is infused with imagination and spirit, you are tempted to overlook such lapses. For these errors are the earmarks of aspiration, the signposts to creative effort. You will see them as errors, of course. But you will read them as exciting pledges of a new film talent flowering before your delighted eyes. . . . And you are willing to wait — and to weigh these difficulties. Judging club contests [Continued from page 20] in presenting a complete statement about a single subject — be it nature study, travelog, record, personality portrayal, comedy, tragedy or whatever? Does he introduce this subject and logically complete his treatment of it as an integrated whole? Is there continuity within this treatment? Ill: Interpretation — Here We have to evaluate the creative abilities of the producer. Freshness of approach, suitable direction, mood, tempo and editing are all subjective and hence reflect the producer's feeling. Even wording of titles, taste, form and style are also personal matters. Use of effects and transitional punctuation aids also are to be evaluated under this heading. Here end my proposed definitions, but perhaps a brief discussion of them may be in order. 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