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COLLEGIATE ROMEOS In The Sporting Chance, a Production of the Amateur Motion Picture Club of the University of Southern California.
AMATEUR CLUBS
Uncharted Seas
THE Cinema Crafters of Philadelphia are making pioneer experiments in new field of photoplay production. They are approaching the motion picture from an entirely new angle, to discover its artistic possibilities. In their first film, "Transition," emphasis was laid upon the scenic background that evoked and sustained the picture's moods. Their second film, "Mobile Composition No. 1," is dynamic in both scene and structure. Pantomime, for its own or the story's sake, is disregarded. Stress is laid on the mobility of the scene as a whole, its time, movement and value in relation to other scenes. By this means, rather than by a story in film, the idea of the composition is conveyed.
We learn that "varied ryhthms of the scene as a whole, contrasted with repetitions and pauses, with continued change from subjective to objective and from participant to spectator, all contribute to expression." However, unlike the Ballet Mechanique, the episode of the picture is an integral part of the film.
One-hundred
Edited by Arthur L. Gale
"Our club is composed of painters, dancers, and illustrators," writes Lewis Jacobs, its president. "We are working on 35 m.m. film. It is our aim to emphasize direction that will result in cinematic form. Such stuff as story, acting and sets are merely contributing factors to the more important element, form. We are trying to make of the film something restless, fluent and dynamic.
"The cinema," continues Mr. Jacobs, "has, as yet, with the exception of the Russian film, Potemkin, given us chiefly conventions. It remains for the Amateur to create cinematic traditions. We believe that to use a true angle is more important than to use a camera angle. We believe it of more value to tap the emotions of our audience with images than with sub-titles. We think that the movement of the whole scene, rather than that of individual figures, should provide the structural form of the scene. We are investigating the possibilities of variation in both the size and place of the projection image.
These variations have not been used by the professional cinema except in the naive use of the magnascope.
"A pictorial plan annotated with technical notes supplants, with us, the usual movie script. The advantage of such a plan lies in its consolidation of the functions of novelist, scenario writer, art director, camera man, director, etc. It saves us considerable time and money, first, in the actual scene shooting and, later, in film editing. Because it is visual and almost as concrete as the film itself, this system facilitates organization and aids considerably in determining mood, tempo and other directorial functions. Of course, for the preparation of this plan, one must have a trained visual sense so that the artist supplants the writer.
"At present, we are at work on a film, the nature of which is yet secret. However, these cinematic theses are embodied."
This is a bold amateur challenge to professional accomplishment. Not all of these ideas are new but they have much of revolutionary vigor about them. They illustrate the dis