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.
SELECTED REFERENCES 167
its presentation on the screen for the intended audience. Tins subjed is too vast to be discussed adequately in anything less than a separate book.
To photograph a scene properly requires an adequate knowledge of the theory of art and film. The literature is quite extensive in the former and much can be found in books, papers, and periodicals concerning the static representation of things and events in pictures. Unfortunately, the literature is not extensive concerning the dynamic representation of things and events.
One of the finest books on the subject is Film Technique by Pudovkin ; this was translated by Ivor Montagu in England and published by Gollancz of London a decade ago. Although the book was originally written before sound was introduced into films, the text is profound in spite of its somewhat "ethereal" theoretical approach.
A report worthy of detailed study is that of the Luchaire Committee on Intellectual Cooperation of the League of Nations written in 1924. The teachings of this report are clear and straightforward.
During World War II a number of papers were published in the Journal of the Society of Motion Picture Engineers written by various authors in the Training Film Division, Bureau of Aeronautics, U. S. Navy. These are among the finest published to date in the field of training films, and ' ' tie down ' ' in practical form the theoretical concepts of Pudovkin and others, in addition to providing a very big push forward to the theoretical and practical frontiers of training film production that are ordinarily so slow-moving.
For those interested in the broader aspects of the film, one of the finest publications is The Film in National Life published in London in 1932 by Allen and Unwin Ltd. at a price of 1 shilling. This publication is a report of a commission on the cultural and educational aspects of all films, entertainment and educational; the report was financed by the Carnegie UK Trust. The several appendices are especially valuable, since they summarize the organization and control of the various film services in the major nations of the world.
There is still a great deal of room for books dealing with the translation, so to speak, of concepts into actual strips of edited film. The entertainment film industry of America has applied these principles very effectively in the production of Hollywood films, but many of the principles are considered trade secrets. The need for production guide books for educational, industrial, and similar films is now very acute, and the vacuum needs to be filled very soon.
Selected References
For bibliographic material the reader is referred to the following indexes to the Journal of the Society of Motion Picture Engineers.
July 1916June 1930 "Cameras and Camera Mechanisms," page 119. "Cameras with Camera Mechanisms," page 119.