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I 3^6 American Cinematographer • August, 1936 Here’s Practice in Indirect Representation W HY NOT film an interpretative treatment of a current topical subject? Indirect representation is on effective way, frequently used in prafes- sional film production, of portraying influences or moods, which are intangible of themselves ond hence con not be placed on film directly. Their presence is felt and their visible effects on others can be caught by photography and hence conveyed to the screen by inference. Unseen menaces can vividly be shown by this treatment and made as real to oudiences as though actually visible. Let us take the current period of unusual burning weather that has brought death and drought conditions to wide sections of the nation. High sun temperatures are not directly photographable in abstract. But by making excessive heat the villain of our story and showing its in- fluences on familiar environments, the point can be scored in telling italics. This scenario will guide you. It calls for short, fast cuts; brief scenes giving impressionistic Montage effects. Be patient and get just the kind of character types needed to make the film replete with human-interest. MAIN TITLE; HEAT WAVE. SCENE 1. LONG SHOT from elevation, shooting down on a length of city street, glaring hot and steaming under the sun. Shadows are black and light areas shimmering. SCENE 2; LONG SHOT. The same scene shot from street level. Hot lights are pouring from pavement; pedes- trians are sweltering. SCENE 3; MEDIUM SHOT. Several passers-by. Men carrying their coats, shirts open at throat, mopping their perspiring faces. SCENE 4; CLOSE-UP. A thermometer with mercury registering over 1 00. INSERT; Front page of newspaper with headline, MER- CURY SOARS TO 107. INSERT; Newspaper headline, SCORCHING HEAT PARCHES COUNTRY. It runs diagonally across screen. by Barry Staley SCENE 5; MEDIUM SHOT. The queue of ice-buyers at the ice company's plant. SCENE 6; MEDIUM SHOT. In the poorer sections of town. Urchins peeled down to minimum clothing begging small pieces of ice from ice wagon in street. SCENE 7. CLOSE-UP of two of the urchins eating the treasured ice in the street. SCENES 8 TO 15; CLOSE SHOTS of colorful characters and scenes reflecting suffering from heat among the poorer classes; mothers with palm fans, fire-escapes made into open-air bedrooms, the itinerant penny ice-cream huck- ster, the strawhatted dray-horse drinking from water trough. SCENES 16 TO 20; CLOSE SHOTS in a public park. Interesting types sprawled on park benches, on the grass, fanning themselves with old newspapers, in various stages of undressed comfort. SCENE 21 ; CLOSE-UP. At an open lunch-stand, a sweaty workman is downing a foaming stein of beer with cooling effect. SCENE 22: CLOSE-UP. A small boy or girl nibbling at a soothing ice cream cone. SCENE 23: MEDIUM SHOT. Exterior of movie the- ater. Sign reading 20 DEGREES COOLER INSIDE. Hot and sticky customers ore entering. SCENE 24: LONG SHOT. On the outskirts of town. A field burned brown and lifeless by the sun. SCENE 25: CLOSE-UP. Your dog panting, tongue well out. SCENE 26: MEDIUM SHOT. In your back yard. Chil- dren are in bathing suits, enjoying cooling sprinkles from the garden hose. Continued on page 356