American cinematographer (Jan-Dec 1926)

February, 1926 AMERICAN CINEMATOGRAPHER Nine Urge Credit in Theatre Programs ^9 Story in Exhibitors Herald Suggests Cure wben Credit Titles Eliminated Recognition for the cinematographer is a subject which has long commanded the attention of those in the cinematographicbranch of the film industry. Through the continued efforts of the American Society of Cinematographers and the co-operation of the part of the important producers, screen credit, on major productions, has become the rule rather than the exception. The line, photographed by " -, A. S. C," has become an integral part of the credit titles of innumerable producing organizations. Now that the cinematographer has achieved recognition, to such a large degree, from the producer, it has come to pass that the credit for which he has striven so arduously is in serious danger of being obliterated insofar as the ultimate theatre-going public is concerned. Reports from widely diverse parts of the country carry the information that many of the influential exhibitors are engaging in the practice of cutting credit titles from the prints which they exhibit. While in some instances the responsibility of the exhibitor in the situation is denied, in other cases the argument is advanced, as an extenuating circumstance, that this gross elimination of the credits is essential in order to meet time requirements in programs. Deleted Captions Lost The most serious aspect of the entire affair is the fact that once the credit titles have been taken out at the larger houses they seldom if ever find their way back into the print before it is assigned to the hundreds of smaller houses. The result is that the photographic "by-lines" of the cinematographers, as well as other deserving film artists, are precluded fr)om being presented to the millions of patrons who make up the theatre audiences throughout the world. Aside from the fact that the few seconds required to project the ordinary credit title renders almost absurd the claims as to the time saved by cutting such, the cinematographer and his co-artists feel as justified in having their work carry their "by-lines" as do the author and the magazine illustrator — and so on down the line. Damage May Be Permanent While the present may be an unripened perspective from which to hazard a prognostication, it might well be imagined that some of the cinematographic efforts might be, a few generations hence, masterpieces to the cinema world, just as the works of the old masters are to painting. What a pity it would be to have such moving pictures unsigned — which the indiscriminate hacking of credit titles could make possible. It has been suggested that if the exhibitor finds the credits missing from his print, he may insert the properly accredited names in his program. If such names are not forthcoming from the exchange, a letter sent to the American Society of Cinematographers, Hollywood, if the exhibitor knows the dates of his bookings sufficiently in advance, will elicit the desired information. A. S. C. Members Purchasers of Iris Made by Fred Hoefner Park Ries and King Gray, both members of the American Society of Cinematographers, and Walter J. van Rossem are recent purchasers of the Hoefner iris, which is manufactured by Fred Hoefner in Hollywood. Hoefner also maintains a machine shop, specializing in expert and precision mechanics for camera work. American Society of Cinematographers BALL Hotel Biltmore Los Angeles SATURDAY February 20, 19X6