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Sixteen
AMERICAN CINEMATOGRAPHER
December, 1926
WHETHER for interior or outdoor shots, Zeiss Lens equipment on your camera insures results. No matter how thorough your methods, how good your lighting or how elaborate your settings, the final result will be better — 'whenever and whereever Zeiss Lenses are employed.
CARL ZEISS, Inc.
485 Fifth Ave.,
New York
Formerly H. M. Bennett )
Pacific Coast Branch: 728 South Hill Street Los Angeles, Call*.
A NEW LENS
"That has made good" Large aperture F:2.3. To a large extent responsible for the Bas-relief, or solid appearance of the subject on the screen.
Good definition over the entire field, yet not harsh or wiry.
A portrait lens in short focal lengths
40mm, 50mm, 75 mm,, with full closing diaphragm.
Price is reasonable
40mm WO.OO
50mm 50.00
75mm 55.00
A Trial Will Be Satisfying
ASTRO-GESELLSCHAFT, mbh., Berlin
FOR SALE BY
MITCHELL CAMERA CORPORATION
6025 Santa Monica Blvd. Los Angeles, Calif.
dream absolutely freely and at the same time keeping your projecting will and your attention awake, requires a very fine mental coordination, but with practice it can be achieved. I must repeat: Let your imagination run riot, no matter how absurd its whims may appear; do not try to impose upon them some conventional continuity. Only this way you will come to see original and amazing things and you will learn that your subconscious mind is a greater artist than your conscious mind, trained perhaps for years. Someone said that in our dreams every one of us is a Shakespeare.
One cannot predict what you may see on your mental screen. It all depends on your individuality, on your fundamental make-up. It is easy to point out happenings in the external reality; but the realm of dreams, that internal and higher reality, is so much more varied and unlimited; it is the very source of the original artistic creation. But you will notice one thing common to all of us: those mental pictures move perpetually, they do not stop for the fraction of a second; they appear suddenly or grow and take shape gradually out of an insignificant something; they transform, metamorphase; they dissolve out and into something else; they gradually fade out or suddenly explode; they reappear but with variations, and so on. Indeed, the wealth of moving pictures that appear in these conscious dreams is immense.
(The above suggestions should not be taken as recipes how to make street-scenes, cafescenes, dream-scenes, etc.; they should merely lead to the training of observation. Original artistic creation cannot be taught).
Language of Motions
So far, we have made only one step in our investigation. But this first step was the most important, because we discovered the fundamental principle of the cinema-art: its language must be, first of all, a language of motions.
We have solved the problem optically only. But a real work of art does not please the eye alone. Besides that, it must mean something;
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■life