American cinematographer (Jan-Dec 1926)

April. 1926 A M ERIC AN C INEM A T OGRAPHER Seven DO MotiOTl Pictures Bxj Herbert S. Marshutz, Injure the Eijes ? A B D ° The effect of motion pictures upon eyes has been misunderstood for years. The first impressions on the subject date back to a time when fewer people attended pictures, and to a period when motion picture projection was not at all like it is today. At the present time several millions of people of all ages visit motion picture houses every day. Ninety per cent of them will suffer no inconvenience to their eyes. But there is nevertheless an undercurrent of belief firmly imbedded in the public mind in the United States and wherever pictures are shown, that movies hurt the eyes. Now why is this the case? In preparing this material, we have analyzed the conditions under which the human eve functions in a motion picture theater. Every condition that is somewhat unusual, and any circumstance under which the eye must work differently than in any other visual effort, are a hundred times less objectionable than 15 or 20 years ago. During that early period, there were many flaws both in picture making and picture showing. Today they are either greatly lessened or omitted entirely. "Dark-Adaptation" Necessary Now what are the unusual conditions under which the eye must function in a picture house? There are quite a few. First of all, there is a great reduction in the amount of light. Even the brightest and whitest scenes are dim in contrast with daylight illumination. And the theater is still darker. Consequently, the eye is working in reduced light. Even though the eye is observing detail the pupil is larger than would be the case in an ordinary room or office. Between the screen and the corners of the auditorium, is a decided contrast of lighting. Another unusual feature in spite of the impression of flowing motion, the picture on the screen is, of course, a series of rapidly changing scenes. Then again, there is no depth — the screen is a flat surface. And the eye is seeing a world without its accustomed perspective. What one sees is not an image of any object but the image of an image. It is not in natural colors as a rule, but in monotonous tones of black and white. Abnormal Functioning All these point to the undeniable fact that the eye must function under abnormal conditions while viewing a photoplay. But we must not be too harsh. Most eyes should have no difficulty. The old viewpoint that motion pictures are bad for the eyes is based on conditions of many years ago. At the present time, the abnormal conditions present in the showing of a photoplay are for the most part present in the legitimate theater, at the lantern lecture, at the opera and even in some of o u r badly illuminated homes and offices. Except for the ntotion and the quick changes of shading on the Prominent Optometrist States that Eyes Found to Be Source of Trouble screen, motion pictures and the theaters have much in common when it comes to the eyes. Hoiv to Rest Eyes The average photoplay lasts almost two hours, during which time the audience usually has the opportunity to rest the eyes by listening to music or viewing a vaudeville act. Such rest periods are very valuable and by all means should be taken advantage of. Trying to read programs in the usually dim light between acts is just as apt to bring on visual fatigue as watching the picture too steadily. For years I have made a practice of looking around the theatre, studying the decorative effects, noting the ornamentations -anything to get the eyes on different light and at different angles. This has proven very restful. Nothing will tire eyes more than looking too steadily at one point or at one kind of object. Even gazing for just a minute at one color, one letter, produces what we know as retinal fatigue. This is involved in most discomforts experienced from prolonged use of the eyes at theaters, or any steady observation at any distance, near or far. An Improved Situation Since the nickelodeon of long ago, so much improvement has been made in the showing of pictures that no one who has investigated the subject today can come to the conclusion that the movies (Continuecl Q1 I'aee % l )