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THE FILM 175
change in clean prints in a good state of repair that may
be safely projected.
What an Exchange Contracts to Do
(21) When and exchange contracts to supply film service to a theatre it agrees, unless for some reason it is otherwise stipulated, to provide (a) prints in firstclass condition, safe in every way for the grueling grind
through the projector for hours each day. Automatically the exchange becomes morally and legally responsible for fire or other accident that results from faulty prints, though it must be noted that the projectionist is not relieved from the duty of inspecting the prints before starting operations for the day. (b) The exchange also undertakes to provide clean film. (22) It becomes a reasonable assumption that the exchange holds itself responsible for providing the theatres with clean and safe working prints.
(23) It is equally evident that the projectionist cannot legally be held responsible for accidents resulting from imperfect prints nor for a poor screen image and bad sound because the prints are oily and dirty.*
(24) Although the projectionist is never relieved from his moral duty to provide the utmost safety for the people in his theatre, it is nevertheless no part of his duties to make repairs on film received imperfectly from the exchange. (25) It is, however, decidedly the projectionist's duty to repair all damages done to the film while it is in his possession and to return the prints in as good a condition as received.
Cause of Damage To Films
(26) Films may be damaged in many ways. The principal causes are:
Shipment to or from theatres without proper packing and or rough handling while in transit.
Damage to sprocket holes because of worn sprocket
*These statements were examined and fully discussed by the Projection Practice Committee of The Society of Motion Picture Engineers at a regular meeting held March 7, 1934, and were unanimously approved.