British Kinematography (1951)

May, 1951 THE TELEKINEMA — PERSONAL IMPRESSIONS 141 this to the funnel-like shape of the aud'torium and my position near the back. I am, in effect, sitting in the mouth of a vast horn, and all sound appears to come from the throat of the horn, that is, from behind the screen. Technicolor on the Thames The next film takes us on a river journey along the upper reaches of the Thames. This also is in colour, and incidentally shows up the reflective properties of the screen surround to good effect. The picture is obviously taken during the winter months when the deserted river hardly presents its most attractive appearance. A few of the scenes stand out vividly, and serve to emphasise the undistinguished character of the remainder. I find that considerable effort is required to watch the picture in depth, and the use of the straight cut as a means of changing scene seems to impart a visual shock, as the eyes need a period of grace, however short, to readjust their focus. I have become aware of a headache. The film stops (it does not seem to " end "), the lights go up and we wait expectantly. The curious plonking noises recommence, accompanied by the sound of escaping steam. THE TELEVISION AS one enters the Telekinema past the window in the projection room, one observes the Marconi television camera amid the projection equipment, and the specially installed lighting shining into the foyer. Inside the auditorium, incoming patrons in the foyer are being televised on the screen. The lights dim, and on the screen appears a reproduction of the foyer of the theatre. On the occasion of the Society's visit, Miss Joan Grimfnths was seen interviewing Miss Petula Clark, but since the opening the interviews have been conducted by various B.B.C. commentators. There follows a survey of the projection room and its equipment. To the layman, the effect is no different from that of a film. The picture is well lit — although to a rather lower standard than that of the film picture — and is free from the I am feeling rather depressed when an usherette approaches. She is the most beautiful usherette in the world — definitely threedimensional ! As she asks for my glasses, I watch intently, then sigh with relief : her lips and voice are in perfect sync, and, what is more, as she passes on down the gangway I find my eyes can keep her trim figure in focus without any strain whatever ! Projection Equipment On the way out, I show my guests the impressive installation of fine equipment in the operatmg box, thinking meanwhile of the way in which the opportunity of demonstrating it to the world was being squandered. Where were the spectacular scenes of land, sea, and air, which really need three-dimensional presentation? Where were the scenes of national character to interest overseas visitors? My guests are sympathetic. They say that dilettantism can easily get out of hand, and that it can happen anywhere. That anyway it will amuse the public ! I point out that the night is still young and ask what they would like to do. " Let's go to the pictures," they say, and we go off to enjoy ourselves. N. Leevers. PROGRAMME shadowing which so often mars the television image. A better indication of the standard of reproduction is, however, gained during maintenance periods, when the B.B.C. test chart is shown : this is well focused and quite free from geometrical distortion. The picture might indeed just as well be a film. The commentator makes a point of emphasising that we are watching television, since there is nothing in the material which serves to differentiate the presentation from a film. While to the technician it makes little difference whether signals are transmitted over a few yards or over many miles, to the layman a transmission from the foyer to the screen is hardly television. Notwithstanding these criticisms, it must be put on record that the public reaction has been one of enthusiastic acclamation. R. H. Cricks.