American cinematographer (Jan-Dec 1945)

of film programs so that the motion pic¬ ture may be studied and enjoyed as any other one of the arts is studied and en¬ joyed.” We in the motion picture industry owe a debt of gratitude to the organ¬ izers of this Museum for the creation of the Film Library because the Film Industry itself has found little time for the preservation of these valuable treas¬ ures and time alone will increase the appreciation of our early efforts, as in any other art. Miss Iris Barry is Curator of the Film Library. She was born and edu¬ cated in England and on the Continent; is an American citizen, and has been with the Museum twelve years, first as Librarian of its art library and in 1935, when the Film Library was founded, be¬ came its Curator. Miss Barry was a founder-member of the Film Society of London in 1925 and was motion picture editor of the Daily Mail, London, from 1925 to 1930, and in that capacity spent some time in Holly¬ wood. She has written a number of books, particularly on motion pictures, and translated and edited A History of the Motion Picture by Bardeche and Brasillach in 1938. The Museum’s director is John E. Ab¬ bott. On the executive committee are John Hay Whitney, Chairman, Carl E. Milliken, William S. Paley, Mrs. Charles S. Payson, Edward M. Warburg. On the Advisory Committee are Will H. Hays, Chairman, Jules E. Brulatour, Stanton Griffis, Sidney R. Kent, Dr. Erwin Panofsky, J. Robert Rubin and Dr. David H. Stevens. Looking back at fifty years of film, we can now realize that we were pro¬ ducing important records of a series of historical events and that everything that was recorded theatrical or nontheatri'cal was an expression of our ex¬ istence. The advancement has created many changes, and only when we have an opportunity to view these changes from the Museum’s catalogued pro¬ grams can we appreciate how much ad¬ vancement has been made in such a rela¬ tively short time. It is important for the artisans in the film industry who are engaged in production to make every effort to see and study the old films the Museum has packaged, for while we create what we believe to be new meth¬ ods and processes, we will find, some¬ where in the past, the invention of the process and then we can see how pro¬ ficient we have become in its adaptation. Like every other art form, the film is to be studied for comparison and past performance. Take for example a list¬ ing of “packaged programs” by the Mu¬ seum. SERIES 1. Program 1. The Development of Nar¬ rative (75 min.) 1895 — The Execution of Mary Queen of Scots. 1896 — Wash Day Troubles. 1902 — A Trip to the Moon by Georges Melies. 1903 — The Great Train Robbery by Ed¬ win S. Porter. 1910 — Faust, a Pathe Film. 1912 — Queen Elizabeth, with Sarah Bernhardt. Program 2. The Rise of the American Film (110 min.) 1912 — The New York Hat by D. W. Griffith with Mary Pickford and Lionel Barrymore. 1914 — The Fugitive by Thomas H. Ince with Wm. S. Hart. 1917 — The Clever Dummy, a Mack Sennett comedy. 1914 — A Fool There Was, with Theda Bara. Program 3. D. W. Griffith (130 min.) 1916 — Intolerance, D. W. Griffith. Program 4. German Influence (111 min.) 1928 — Hands by Stella Simon. 1927 — Sunrise by F. W. Murnau. Program 5. The Talkies (118 min.) 1927 — Two Scenes from The Jazz Singer. 1927— Movietone Newsreel. 1930 — All Quiet on the Western Front. 1928— Steamboat Willie by Walt Disney. Program 5a. The End of the Silent Era (95 min.) 1928 — Plane Crazy, the first Mickey Mouse (Disney). 1928 — The Last Command by Josef von Sternberg. SERIES 2. — Some Memorable Ameri¬ can Films. Top left, Pearl White and Crane Wilbur in scene from Episode 2 of the famous "Perils of Pauline", filmed in 1914. Right, William S. Hart and Bessie Love in "The Aryan", produced in 1916 by TriangleKay-Bee. The programs in this Series are planned as an extension to those in Series 1 and should, as a rule, not be shown unless the first Series has already been given. Program 1. The “Western” Film, (110 min.) Program 2. Comedies, (125 min.) Program 3. The Film and Contem¬ porary Life, (140 min.) Program 4. Mystery and Violence, (90 min.) Program 5. Screen Personalities, (120 min.) SERIES 3. — The Film in Germany and the Film in France. From 1895 to 1914 the development of the film was to considerable extent in French hands; important experiments were also carried on in France in the late silent and early talkie days. The great German period which contributed so much to the body of the film tech¬ nique and to the American studios in particular was from 1919 to 1928. The Film in Germany Program 1. Legend and Fantasy (85 min.) Program 2. The Moving Camera (105 min.) Program 3. Pabst and Realism (100 min.) Program 3a. The Sound Film (90 min.) The Film in France Program 4. From Lumiere to Rene Clair (95 min.) Program 5. The Advance Guard (85 min.) Program 6. The Comedy Tradition (85 min.) Program 7. Transition to sound (90 min.) SERIES 4. The Swedish Film and Postwar American Films The Series opens with a program on the Swedish film which played an im (Continued on Page 244) American Cinematographer • July, 1945 227