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114 CELLULOID
studio executives whose conflicts of opinion and therefore disharmony of working is notorious../
Moreover, especial reference should be made to the prevalence of moving camerawork in Die Dreigroschenoper. Since the introduction of the spoken word into film making, there has been a growing tendency to decrease the number of direct cuts in a picture, partly because of the desire to minimize the amount of different camera set-ups and partly on account of the difficulties attendant on cutting and joining the sound strip. Some attempt to counteract this handicap (although it is not considered a handicap by directors of the theatrical type) has been made by employing two or more cameras playing on the same scene for a greater length of time than was customary in the days of silent production, and by cutting up the resultant film strips according to their various viewpoints. Although this device greatly speeds up shooting-time in the studio, to anyone concerned with good technique the marked variety of lighting and monotonous rotation of the same angles that result from this method are distressing. The effect is not unlike that of an amateur's " montage " film or a patchwork quilt, and its particularly intolerable unevenness may be profitably studied from the Tom Walls stage-pictures, Tons of Money, On Approval, Plunder and Canaries Sometimes Sing. On the other hand, the help given by this method to a director who can think in terms of constructive editing is greatly to be welcomed, especially if he should place his cameras with a view not only to their visual angle but also to their sound volume.
As cutting has been minimized for the sake of