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1922
THE AMERICAN CINEM ATOGRAPHER
Throughout the thirty days of the fiesta there will be, in addition, musical and dance presentations, historical in their unfoldment.
This will be the first exhibition which will devote principal attention to the display of motion picture paraphernalia. Cinema manufacturers from every part of the globe will have their wares represented. In these exhibits will be the indications of the whirlwind, but steady progress of the motion picture art and industry since the beginning of this century.
The exhibits will be placed on turn-tables, constructed on automobile floats, each of which, the center of spotlights and other electrical effects, will be driven before a reviewing stand. To preserve a record of the floats, the pageants and the other proceedings for future generations, ace cinematographers will be retained to film the events of the thirty days. When finished, this comprehensive motion picture, a testimonial to the art of cinematography as well as to the progress of motion pictures generally, will be released subsequently for showing throughout the world.
This enterprise, materialized to the fullest, will give concrete proof of the power of the cinema, power which even the most optimistic scarcely realize, a power for good which will grow and expand with the passing of each year.
President Harding is being urged to officially open the exhibition if his official duties will permit. Other dignitaries will be present. According to current plans, the exhibition will be held in Exposition Park, Los Angeles.
The question is: Who really MAKES motion pictures? The players, in association with the director and the others whose efforts go to make up the motion picture, may step to the set and give a dramatically perfect performance. But what would that performance mean to the cinema audience in Goshen several months later, if a cinematographer was not on hand recording the actions of the cast? The time has not come as vet when the movements of the players could be relayed through the air to the screen in Goshen, much less delaying the relaying several months which ordinarily would intervene before the Goshenites would view such dramatics at their theater. It is natural to suppose, then, that when a banner is stretched across Hollywood's Vine street bearing the legend, "The people who make Paramount pictures welcome those who sell them," the cinematographer is included among "the people who make them, etc." The banner in question, of course, alluded to the "convention," where according to no less an authority than Jesse L. Lasky, the Paramount distributors, "those who sell them," were to actually see how pictures were made. Now the chief event of these chummy procedings between the "sellers" and the "makers" was the banquet, held in the redwood set of Cecil De Mille's current production, soi that all could "get together"^ — according to the liberal publicity propaganda which attended the "convention." But were the Lasky cinematographers as a body invited to the banquet, the banquet of the makers and the sellers? They were not. It may be, however, that the Paramount outfit has a way of recording their productions in celluloid by magic, without a cinematographer, but we doubt it.