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.
with violence. Their voices gradually rise in chorus and the chorus beats out a rhythm which is the rhythm of the train. The train whistles, and the scene fades out to an actual scene of violence, the whistle of the train continuing as a woman's scream. Pett and Pott is an excellent example of popular comedy heightened by an intelligent use of the potentialities of cinema technique. In a more serious context two new documentary films, 6.30 Collection (E. Anstey and R. H. Watt) and Weather Forecast (Evelyn Spice), show a discreet use of sound symbolism — the diminishing sound of an aeroplane to suggest height, sounds of various modes of transport as a background to the final sorting of letters, various storm sounds "off" when all that is visible is the heaving sea, or the storm signal. The most advanced use of a continuous but disconnected sound strip is found in Granton Trawler — a simple documentary film shot with a hand-camera by Grierson and adapted for the screen with the aid of Cavalcanti. The "orchestral" means are extremely primitive — a mouth organ, a drum, the conversation of some Scots fishermen, but all combined in a symphonic effect. The subject of the conversation, for example, is of no importance — actually it is football ; it is the impressionistic character of the vocal sounds that combine with other sounds to produce an asynchronous reinforcement of the visual effect.
Such experiments mark only the infancy of a new development in film technique. I think the analogy with counterpoint in music is fairly justifiable, and just as counterpoint in music led to a completely new development of the art, so this new counterpoint of sight and sound may lead to a completely new kind of film. But the difficulties ahead are enormous. For one thing, the device must go beyond mere impressionism, to some synthesis of a more abstract or formal nature. But before such an art can be possible, we have to develop a new type of artist — an artist who combines visual and aural sensibility and can use them simultaneously in the service of that particular plastic imagination which is the mark of the true film creator.
• MANUAL OF LAW FOR THE CINEMA TRADE. By Gordon Alchin (London Pitman, 30s.). A comprehensive work which will enable anyone to obtain information on any matter of a legal nature connected with the production or exhibition of films. The sections dealing with statutory and local regulations governing performances are of special value to everyone engaged in nontheatrical exhibition. For producers the chapters on the subject matter of films and sound records have a particular interest in view of the many copyright questions involved in production. THE 1934-35 MOTION PICTURE ALMANAC. (New York, Quigley Publishing Co, 20s.). Over 1,000 pages of reference dealing with every aspect of commercial film production in America. There is a comprehensive who's who covering actors, technicians and executives, details of the year's film output, and full particulars of every organization connected with the American industry. There is also printed the full text of the famous Production Code of Ethics.
21