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96 MOTION PICTURE MAGAZINE ing, generally wind up or interlard the performance, and are produced as fol- lows : All lights must be removed from the room in which the spectators are gathered, and also from the space set apart for the performers, except one which must be placed as in the illus- tration. The stronger the light, the more distinct the figures. B represents the screen or sheet hung between actors and audience; A is the door thru which the actors appear on the scene; C is a very tall and strong box or table; D is a medium stand upon which the light is burning. The per- former entering at B, his shadow is projected on the screen. Standing close to it, his shadow will be seen, life-size and very sharply defined, every action "speaking" distinctly. As he recedes and gets nearer to the light, this shadow increases accord- ingly, and when close to it he will appear of enormous dimensions. A receding and approaching figure, ap- parently fighting, make great diver- sion. The leap into cloudland is now easily accomplished by stepping upon E, and springing carefully over the light on to C. To spectators it will appear as if the performer had jumped thru the ceiling. Most amus- ing imitations of everyday life may be performed; for example, the draw- ing of a tooth, a huge cardboard molar (concealed by the side of the patient's head) being shown to the audience, as having been at the bot- tom of the whole matter. A police- man may be thrown upon a table, drawn close to the screen, and an enormous saw made to appear as if being used in opening his stomach. The throwing back of the flaps of his coat will add a touch of something like reality—under this coat has been concealed a strange medley of things, supposed to have been eaten by him while making himself comfortable in certain kitchens on his beat. A sheep's head, a herring, a turnip, an onion, a gridiron, sausages, cakes, loaves and fifty other things may be "taken out" of him. Finally, he may be sewn up, revivified and sent about his business, a hungrier and wiser man. There is absolutely no limit to the comic effects and "take-offs" which may be intro- duced behind the screen. The accompanying illustrations will doubtless suggest other variations of shadow pictures without explanation. By peruiissluu uf Ihu Ckntl-ry Mauazisk THE BROKEN BRIDGE (A shadow picture by Seeafmn)