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it has been ratified, so far, by six countries.
At the Baden-Baden and Stresa conferences, in May and June 1934, the Institute brought about a standardization of the substandard film. The new norm under the title " Standard I.G.E. " has been accepted, up to now, by the British (sic), French, German and Italian film industries. The consent of the Americans is to be expected.
In collaboration with outstanding experts in all countries, the Institute has collected the material for the "Film Encyclopaedia, " which will make available, in three large volumes, a detailed account of the technical development, art, history, economics, politics and legislation of the film. Only by brief indications can I suggest here what a unique aid will thus be placed at the disposal of all those interested in films. The " Encyclopaedia " covers forty-five subjects, each of which is further divided into a number of sub-headings. Here are a few of these topics, chosen at random : history (aesthetic, economic, technical) ; the film in various countries ; styles ; types of material ; the documentary film; the scientific film; the educational film; film production; the shooting of films; apparatus for filming; the moving camera; position; lighting; photography; film architecture; film manuscript; acoustics; uncut films; development and copying; montage; renting; the cinema theatre; projection; legislation; the state; the public; social aspects; film amateurs, film societies; the cinema press ; directors ; producers ; actors. . . . The completed work is to contain about three thousand headings in alphabetical order; some of them occupy only about five lines, others equal a substantial volume in themselves. The section on "Film tricks," for example, contains the description of no tricks under as many sub-headings. Of the more exhaustive articles one may mention: The History of the Film (Earl Theisen of the Hollywood Film Museum), The Technique of Film Photography (Guido Seeber), The Chemistry of the Film and Electro-acoustics (the scientific experts of "Agfa" and "Telefunken"), The Art of Make-up (Max Factor), Film Architecture (Erno Metzner and Hermann Warin), The Silent Film, The German Film (Andor Kraszna-Kraus), The European Film (Paul Rotha). If I may be permitted a personal allusion, the headings of the section "^Esthetics" which I myself wrote, including such topics as: the sound film, montage, lighting, movement, the colour film, the film author, would, if put together, form a larger volume than my book on "Film." And I am by no means the only contributor to the aesthetic section of the "Encyclopaedia"!
In conclusion, I should like to draw attention to the fact that the journal of the Institute has been appearing since 1st January 1935 under the title " Intercine," in an entirely new form. It goes beyond the narrow limits of the educational film to furnish a monthly survey
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