British Kinematography (1948)

85 lamp and sound " on " for at least 10 minutes prior to the show to allow everything to warm up and to dry out any condensation. Seating, a most important item, largely contributes to the success of the show, and the type of screen, local police regulations and shape of hall should be taken into consideration. The Public The projectionist must remember that the responsibility for the whole show is his, and in addition to operating, he must co-ordinate everything that goes towards a first class show. The audience should be directed to their seats by c.n attendant, but some seats should be kept near the entrance for possi > e latecomers. Always start the show at the appointed time. DISCUSSION The reason is that it consists of a large number of small glass beads, and each one is practically a sphere of glass. Mr. J. P. J. Chapman : For cleaning the film, tri-ethylene chloride should be used, but it is highly toxic. For waxing films, I have made a machine in which two feltcovered rollers are lubricated by a mixture of carbon tetrachloride and 20% spermaceti; this lubricates only the edges of the film. Mr. H. Walden : In regard to the cleaning of films, Kodak recommend a special material for Kodachrome. To compensate for the directional properties of the beaded screen, I devised a stand which would enable the screen to be tilted. Mr. H. S. Hind : I must disagree with Mr. Walden on the question of beaded screens. Unlike a mirror, a glass beaded screen reflects the light back to its source. BOOK THE YEAR BOOK OF TEE ASSOCIATION OF CINEMATOGRAPH AND ALLIED TECHNICIANS. Published by A. Vernon Free & Co., Ltd. " This book," writes Mr. Anthony Asquith in his introduction to the first year book issued by the Association of Cine-Technicians, " is an experiment." The comment is an explanation of limitations : there is no need for it as an apology, for seldom has a first effort stood so little in need of any apology. The British film industry is large enough now to justify a year book of hundreds of pages. Naturally, in their first effort of 79 pages, A.C.T. had made no attempt to give everything. What is surprising, is that they have given so much so well. Being intended primarily for the use of A.C.T. members, the technical section contains information of practical importance in picture making, much of which is not otherwise available without research. For instance, cameramen and producers will find the section giving weather statistics for various areas in the British Isles of considerable value. In the technical section, there are sub-sections dealing with rawstock and colour processes* All year books suffer a little from developments that occur between the time of compiling the copy and the book's issue from the Press. It is in gentle reminder of REVIEWS this that we must observe that the Cinematograph Exhibitors' Association moved its address last summer. J. C. Warbis. MAGIC SHADOWS. Martin Quigley, Jnr. 191pp. Georgetown University Press, Washington. D.C. $3.50. This very readable book (whose author is editor of the Motion Picture Herald) bears evidence of an erudite study of historical records, tracing the development of the magic lantern from the 17th century. Notwithstanding that the book is subtitled " The Story of the Origin of Motion Pictures," it is not until halfway through it that mention is made of the photography and synthesis of motion, when yet another claimant arises to the title of " Father of Motion Pictures " : the Belgian scientist, Plateau, whose work on stroboscopic phenomena seems to have preceded that of Roget. Thirty pages only are devoted to tracing the history of the film. Credit for the development of kinematography is very fairly apportioned to a dozen inventors ; in particular, the contributions of Edison and Friese-Greene are critically, but justly examined (although the account of FrieseGreene's death is inaccurate). There is room for a sequel to this book — an expansion of the last thirty pages. R. H. Cricks.