Celluloid : the film to-day (1931)

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INTRODUCTION THE FILM TO-DAY That the scientific art of cinematography is at present not understood by many people and is, moreover, passed on one side or accepted as a vulgarity, is not perhaps of such serious consequence as would at first appear. The fact that the cinema is closely associated with commercialism, that it is indeed a great trade, will not prevent its natural course of evolution. Although side- tracked and even hampered by its money-minded sponsors, nothing will stop the film from developing along its proper path of progress. It is doubtful whether the sound film, with all its magnificent scope for enlarging the emotional appeal of the screen, would have been a practical possibility without the financial backing of the cinema industry. The nature of the medium essentially demands businesslike methods of organization and distribution on a vast scale, necessi- tating the co-operation and smooth inter-relationship of a large number of persons and very big sums of money. Writers of varying calibre have tried to explain cinematography by mathematics, by psychology, by psycho-analytical observations of profound seriousness, 3 A*