Cinema Progress (1935 - 1937)

Page scan 000246 from Cinema Progress

Record Details:

Title:
Cinema Progress
Date:
1935 - 1937
Publisher:
Los Angeles, American Institute of Cinematography
Volume:
Cinema Progress (1935 - 1937)
Leaf #:
000246
Language:
English
Subjects:
Motion Pictures, Film Industry Trade Magazine",nyarc-museumofmodernar
Collection:
Hollywood Studio System
Format:
Periodicals
Contributor:
The Museum of Modern Art Library, New York
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
June 20, 2024
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.

CINEMA PROGRESS Sai FranH^o's waterfront of 1S49 will look like this when it appears in Paramount's Wells-Forgo. The set is a clever combination of suspended miniature, backdrop, and optical illusion. The dock is actually 40 feet below and about 100 feet behind the "city." Movie Magic Wells-Far go (Paramount) You have probably heard of Laputa, the island in the sky visited by Gulliver. And, more recently, you have undoubtedly read of "The Lost World," lofty, almost inaccessible plateau in Arizona. But you probably never suspected that the San Francisco waterfront of 1849, as presented in Paramount's WellsFargo, is a mixture of both. Suspended 40 feet above the ground by wires and a wooden framework is this combination of canvas back-drop, minia ture, and perspective illusion. Upon the screen, it will appear as though we were viewing the early-day waterfront from the deck of a ship. Bordered on the right by the prow of one schooner, to the left by the stern of another, and in the center foreground by the wharf stacked high with cargo bales, the city is seen stretching far to the hills in the background. But the railing over which we are peering on our "ship" is the only part 26 —