We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
44 The Latest Wrinkle— Silhouette Movies
tiny needle scratch on the film would reveal a sinuous river coursing down yonder mountain.
By leaving one character near the lens and another on the platform near the lights, a tiny pygmy could be shown furiously attacking and worsting a Gargantuan monster. Little, figured pieces of flat, black cardboard, hung from the curtain by invisible wires, could give the effect of one character looking at
Inbad and his friend go in search of the pearl. The possibility of action is demonstrated in this scene.
its ghost or double, with no necessity for the director's frantically hunting for a twin human likeness.
No end of astonishing effects but could be produced by equally simple means. Of course, constant ingenuity was demanded. There was no conventional way of doing anything.
One amusing feature of Mr. Gilbert's method of production was the facility of "make-up" for the actors. "My ac
tresses," laughed the artist, "don't have to worry about their complexions." There is no despair at the missing of the rouge stick in No. 44. Grease-paint expenses are cut to the minimum. Of course, an occasional false nose or a wig are needed, but nobody worries very much about his color.
But excellent profiles are in high demand, and a well-turned calf is more than a phrase reminiscent of the eccentricities of Queen Anne days. In Mr. Gilbert's opinion, it describes something which has a distinct commercial value.
Now, it would be decidedly unfair to imply that when Mr. Gilbert has completed his part of the work and the film is taken to the Bray studios, where the transformation scenes o r "oddeffect" scenes are sketched in, the end of the long process is a mere mechanical "filling in."
Mr. Bray's work is much more than that — it is integral. Consider the opportunity for the exercise of imagination where, for instance, a witch changes into a serpent. For these transformation scenes are not like the sudden cloud of smoke and audible roll of a trapdoor which accompany such scenes on the stage, nor do they resemble the soft blur of a transformation scene in ordinary moving pictures, a blur which ends in a quick snap, following a fraction of a second of darkness.