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quently given huge rooms; and over-sized settings which originated in an appeal to the snobbery of the audience, have become the monotonous rule. In practice the smaller sets have given the best results. Though they are more difficult for the technicians they are easier for the actors and for the directors. And they usually look more convincing. The use of wide-angle lenses can give them a depth and distortion: a quality of perspective, indeed, which is new and peculiar to cinema. As such it ought to be exploited. This deeper knowledge of lenses is of primary importance in the construction of sets, and one may say that no set should be designed without some understanding of the lenses used in the various shots. The size of the lens is as important as the placing of the subject.
Another point: the preoccupation with depth has obscured the fact that the projected image is inevitably a flat image. The emphasis is no longer on the volume, but on the line. In every composition, therefore, and every sequence of compositions, the play of lines is important. The dominant lines, straight or curved, vertical, horizontal or diagonal — have a dramatic and emotional significance which affects the montage and construction of a sequence. No art director can ignore it. The jumpiness and lack of rhythm in such otherwise finely staged sequences as the dancing scenes in The Merry Widow and Gay Divorce are due almost entirely to this confusion between set volume and projection line.
The problem is so complicated that one may well understand why the line of least resistance has so often been taken and why the old stage set, made rather for the eye of the director than for the lens of the camera, is still in general use. But the exciting possibilities of what we might call the camera set as distinct from the stage set must sooner or later be exploited by all intelligent directors.
EISENSTEIN
It is announced that Eisenstein is preparing a massive film to portray the history of a proletarian family in Moscow over a period of five hundred years. Since his Mexican misadventure, Eisenstein — who is the subject of the cover illustration — has confined his activities for the most part to lecturing at the State Kino Institute (G.I.K.), where his pupils, whose courses extend for three years, have included a number from countries outside the U.S.S.R. A note in the " Moscow News " observes that an important factor in Eisenstein's work has undoubtedly been the photography of Eduard Tisse, who is not a Russian but a Scandinavian. " A cameraman on various fronts during the World War, Tisse donned Red Army uniform and filmed the Civil War and Revolution on many fronts, under conditions of extreme danger and difficulty."
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