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.
April. 1924 AMERICAN CINEMATOGRAPH ER EleTen
AND TO QUIGLEY, TOO
True ability cannot be obscured for all time. There was a time when the cameraman may have been regarded much in the light of a mechanic, but that time has slowly but surely sifted away into the remote past. Achievements in the cinematographic branches of the motion picture industry, it has been stipulated long since, have in a large measure been responsible, basically, for the magnitude of the cinema today.
But, with some, the ingrown conception of the cinematographer as the mechanical "crank turner" has persisted, although incontrovertible evidence of the cinematographer's artistry has, for seasons past, beamed forth from every motion picture screen. Unfortunately, the cinematographer's workaday triumphs, like the researches of the scientists who have made it possible to stamp out plagues and fevers, do not lend themselves handily to glorification.
It has been well said that he is the true silent worker. Therefore, the mediums which speak to some degree for his merits are to be considered as' beacons of truth in that they dispel the silence that is the cinematographer's. So it is with a sense of gratification, too, that the American Cinematographer notes that a publication of the calibre of the Exhibitors Herald "speaks a word" through its editor — Martin J. Quigley — for the cinematographer. With pleasure we re-print herewith "Giving Credit To Cameramen," a recent editorial by Mr. Quigley:
"We want to speak a work for the cameraman as an essential and mightily influential factor in production.
"There is a lot done behind the scenes in pictures as well as in the theater and in — life.
"The cameraman is no more a mechanical workman than is the director. His profession requires a wealth of technical knowledge and experience yet, in addition, he must have vision, imagination, quick decision and a sense of beauty. The cameraman is the translator of the ideas of the writer and director and in order to be able to translate he must understand the subject matter.
"Cameramen generally have a splendid professional interest and enthusiasm in their work. Frequently they face severe perils to life and limb and they do so uncomplainingly. They are adding immeasurably to the beauty of the screen and the technical proficiency of American motion pictures stands to their everlasting credit.
"Unfortunately there has been a neglect in giving cameramen due credit as the photographers of particular productions. Producers and distributors should look to this and see that the information is sent out so that the cameramen may be given the individual credit they are entitled to."