We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
Ten AMERICAN CINEMATOGRAPHER April, 1924
^Tll.G EdltOrS COrtlCr —conducted bu Foster Qoss
HATS OFF TO MISS PARSONS
The American Cinematographer wishes to pay its respects to Louella Parsons, motion picture editor of the New York American, and writer of a weekly column which appears extensively in the Hearst papers, including the Los Angeles Examiner.
In the February number this publication called attention to what evidently was an inadvertency in Miss Parsons' column in the Examiner when the cinematographic artistry of George Barnes, A. S. C, in "Peg O' My Heart" was attributed to the director of that production rather than to the A. S. C. member who photographed the vehicle.
When Miss Parsons read the lines which appeared in this journal, she handsomely took care of the situation with the following paragraphs which appeared not only in the New York American and the Los Angeles Examiner but in all of the Hearst and other publications carrying the same service :
"The American Cinematographer," Miss Parsons' column reads, "calls attention to an item that was published in the Movie-Go-Round in the Los Angeles Examiner.
"In this paragraph I said that King Vidor's camera methods made Laurette Taylor look like a girl of sixteen and had every motion picture star over twenty-five paging him to find out how it was done. The American Cinematographer mentions the fact that it was George Barnes, a member of the American Society of Cinematographers, who deserves credit for these camera methods, and not Mr. Vidor.
"The American Cinematographer is right. The credit does belong to Mr. Barnes and he should have it in a large degree, not only for his camera work in Teg O' My Heart,' but for his work in 'Yolanda.' He is responsible for the beautiful closeups of Marion Davies. I hope Mr. Barnes will accept this belated apology. We believe in justice and in giving credit where credit is due."
Miss Parsons' spirit is to be admired. It is the sort that is a credit to American journalism of which Miss Parsons is ranked as a distinguished figure. That sort of spirit, although sometimes it is seldom practiced, makes friends for the publication with which the gracious writer, whoever he or she may be, is connected. To the American Cinematographer it amounts to an ambition to see the time when every newspaper and publication, that gives spaces to motion picture affairs, will recognize the ability and artistry of the cinematographer as Miss Parsons has so fully done.
Miss Parsons, we thank you.