American cinematographer (Jan-Dec 1924)

Fout AMERICAN CINEMATOGRAPHER August, 1924 Pictorial Art Soaring The article re-printed herewith appeared originally in the Sunday motion picture section of the Los Angeles Times of which Mr. Schallert is drama and music editor. Mr. Schallert's analysis of the present-day state of cinematography is to be regarded as that of an authority, as in his meritorious association with the Times and as a feature writer for national magazines he has long been recognized as one of the most accurate students of the trends and the More and more am I convinced of the fact that this is to be a time of great pictorial discoveries in the films. "The Thief of Bagdad" represents extraordinary evidence of this, and though the fantastic type of productions that may follow will probably be very few in number, it is conceivable that they will add much to the imaginative power of photography. The camera is in some respects the heart of the screen art. Too little space is generally given to it in the consideration of what goes to make pictures. Meanwhile, its developement has proceeded at such a remarkable rate, that almost anything may come within its vision now. I believe too, that it is due for an even more startling advancement within the next few years, and that this advance will goo far to solve the conglomerated riddle which films as an art so often present. One thing certain the literary influence in pictures is rapidly subsiding. It will subside even more if pic By Edwin Schallert Drama Editor of Los Angeles Newspaper Pays Great Tribute to the Camera tendencies of the cinema. It is interesting to note that John F. Seitz, whose cinematography in Rex Ingram's productions is pointed out by Mr. Schallert is a member of the American Society of Cinematographers, having been first vicepresident of the Society during the past year. Likewise, the pictorial triumphs of Douglas Fairbanks' "The Thief of Bagdad," mentioned by Mr. Schallert, may be said to represent an A. S. C. triumph inastnuch as the tures like the "Thief of Bagdad" are a success. This, however, is problematical now, because it remains to be seen how popular such unique entertainment will turn out to be. However, there are other signs and wonders that have testified to the powers of the photographic mechanism. Cecil De Mille showed what it could do in the glimpses of the opening and the closing of the Red Sea in "The Ten Commandments." It is significant, I feel, that Roy J. Pomeroy, who actually was responsible for this mechanical side of this illusion, has been mentioned as the codirector of "Peter Pan," for it shows the new trend. Rex Ingram in a different way has already made the camera relate a wonderfully beautiful message, or at least he has utilized the powers which lay within its scope by providing the opportunity for his cinematographer, John F. Seitz, to secure the most attractive and artistic picture imaginable. cinematography therein is the result of the efforts of Arthur Edeson, A. S. C, staff cinematographer for Fairbanks productions, in association with Philip H. Whitman and Kenneth MacLean, both A.S.C. members who worked with Edeson on the vehicle. The cinematographic phases of Cecil De Mille' s "The Ten Commandments," cited by Mr. Schallert, were the work of Bert Glennon, A. S. C, who created a pictorial masterpiece in the De Mille production. There are few films on the screen of course, that can stand the test which might be applied to some of Ingram's. In his case I believe that you could stop the reel at ahnost any point and have a complete and beautiful pictorial impression very like a painting. Ingram's productions, however, as a whole, are inclined to be too static. He sees things too much from the viewpoint of the plastic artist, the sculptor or the painter. What one misses is the full and complete revelation of dramatic motion. The development cannot successfully be one-sided. It has been heretofore. Pictorial art has been submerged under too many less important considerations. The present tendency, in the opposite direction, will doubtless also go to some extremes. But just now, I believe, there is plenty of reason for concentration of interest on the growth of motion photography. A composite motion picture of American industry was shown during the London convention of the Associated Advertising Clubs of the World. This part of the convention program was the contribution of the Screen Advertisers Association which is the screen department of the Associated Clubs. Various Contributions Various practical picture producers, members of the Screen Association, contributed scenes to the picture, compiling it with a view to making the complete picture a "birdseye view" of American industries. Similar Picture The British Screen Association in turn had a similar picture to exhibit visualizing English industries. The British Association was organized only several months ago so that the English film fraternity could do the hos pitable things toward their American brethern. Rothacker Unable to Attend Pressure of business prevented the attendance of the Screen Association president, Douglas D. Rothacker who heads the commercial film division of the Rothacker Film Manufacturing Company. The American screen delegation was led by the Association Vice-President, Maurice Caplan, president of the Metropolitan Motion Picture Company of Detroit. Speakers Among the speakers on the Screen Assocation's program was: Bennett Chappie, Publicity director American Rolling Mills Company; A. V. Cauger, United Film Advertising Service of Kansas City; Charles Hatfield of the St. Louis Convention Bureau.