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director is no longer a snipper of celluloid, but a composer who develops his script concurrently with his score, and conceives his film, not as a series of images alone, but with a complementary counterpoint of sound. This sound may not be music alone. It may be the crash of machinery, the battering of pneumatic drills, the howl of the wind, or the cry of a new-born child. It may in fact be any of the myriad sounds that are part and parcel of our daily life.. The vocabulary of music itself may be expanded and instruments made to produce visual notes far removed from concert practice. But the director-composer will have to exercise his power of selecting angle, distance and composition in the same way as he did pictorially. He may orchestrate his final sound band with completely synthetic tone by means of distortion, dissolving and superimposition of note upon note.
It is in this direction that the amateur may experiment. The arrival of sound probably dissuaded him from any attempts at synchronisation, and until the cost of sound recording comes within practical limit, he has no doubt regarded silent films as his only means of expression. But there exists a vast field of recorded music for him to explore, from which he can extract material for the synchronisation of his pictures, the only outlay being the cost of the records. And besides music there are effects records from which can be built up extremely interesting accompaniments. And to-day it is possible to have re-recorded any particular parts of records that are chosen, so that the complete accompaniment to a reel may be contained on one disc.
And for those that are musically minded there is great scope for writing original scores for their films. It is nearly always possible to find two or three people at least who are capable of playing an instrument of some description, and the music for the complete film can be recorded at small cost. In this way a doubly interesting form of expression exists. But whatever the amateur may do, he is safe in the knowledge that he is not denied experiment, and in this direction his scope is wider than that of the greatest commercial studio.
I F M A THE INDEPENDENT FILM-MAKERS ASSOCIATION
For all serious workers interested in the production of Documentary, Experimental or Educational Films.
Advisers: Anthony Asquith, Andrew Buchanan, John Grierson, Alan Harper, Stuart Legg, Paul Rotha, Basil Wright.
Write for a Hon. Sec, G. A. SHAW, 32 Shaftesbury Avenue, London, W.l
Prospectus.
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