Celluloid : the film to-day (1931)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.

We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

PREFACE XI still points the way for the perfect sound and visual film that is yet to be made. From reading reviews and hearing remarks occasioned by the appearance of " The Film Till Now," I gather that there seems to be some confusion as to the exact attitude I adopt towards the film. While some persons, no doubt for reasons of their own, deny me the rights of a critic, others find fault with what they like to call my " high-hat " approach to the cinema. Because I have stated my preference—in no measured terms, I admit—for a film which, for example, dramatizes an industry or a battleship to one which exploits the sex of some actress, I am branded as being " intellectual." To me the cinema is simply a method of expression admirably suited to the needs of present-day argument. It is a means of propaganda, either in a fictional way or as a specifically designed piece of advertisement. It is a medium which offers to any creative mind a wealth of experiment in its peculiar technical devices for appealing to the human beings of this world. In this book it will be found that this last-named aspect of the cinema—the remarkable magnetism which exists between the screen and the audience—is a source of perpetual interest to me. By analysis of every film I see, I endeavour to fathom the constitution and the strength of this appeal between a projected film and its audience. It is obvious that in this secret lies the key to entertainment, from a cultural, aesthetic and box- office point of view. And because there would seem to