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The Patent Leather Kid First National Pictures, Inc.
Directed by Alfred Santell
Photographed by Arthur Edison
Shadows: The poignancy of suggestion is again demonstrated in this picture when the shadows of the doughboys marching to the front are thrown on the wall of the heroine's bedroom, above the bed on which she lies exhausted from her canteen duties. (See illustration).
Framing: The ruined walls and doorways of a shell swept town are effectively used as frames for the action in several sequences. They increase the feeling of depth.
Machinery: Again the rugged beauty of huge machines in motion is demonstrated by the tanks sweeping through exploding shells.
Realism: There is something for amateurs to ponder in the powerful effect gained in the unusual love scene between the heroine as Red Cross nurse and her terribly wounded, mud splattered lover, lying helpless on the emergency operating table. As she clings to him desperately she too becomes mud stained and disheveled, but there have been few love scenes on the screen which were more convincing or more touching. This telling stroke of sincerity which ignores conventional methods points the way to deeper significance in treatment of photoplay themes.
Fireman Save My Child Paramount-Famous-Lasky
Directed by Eddie Sutherland
Photographed by. .H. Kinley Martin Enlarged Sets: To make the chief characters, full grown men, look like ten year old children giant sets are used. This idea on a simpler basis offers possibilities for amusing scenes in amateur films. Beaver board, cleverly used, will produce similar contrasts.
Spring Fever Metro-Gold wyn-Mayer
Directed by Edward Sedgwick
Photographed by Ira Morgan
Title Dialogue: In a scene where a young husband and wife are still talking after the lights are turned out
Photographs by First Rational SHADOWS AND SILHOUETTES As developed in The Patent Leather Kid
Child Doubles: For long shots children were substituted for the adult actors, a device which will further enlarge the opportunities for developing this sort of film-play.
Comedy Incidents: In this, as in many comedies, there are clever sequences which can be adapted for any amateur comedy.
GLASS WORK
In The Student Prince the university was painted on
a big plate glass through which the scene was taken.
The edges of the painted portion can be seen on close
examination.
Photograph by MetrO'Goldwyn'Mayer
in their bedroom, the speeches of the wife are thrown on one side of the black title frame, and the replies of the husband follow immediately on the opposite side of the frame. As these titles alternate, they give the cense of a genuine conversation, without the interjection of the scenes usually used to maintain the impression of people talking. This idea will appeal to every amateur who lives to work out clever titles.
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