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On the whole, I regard moving-camera shots and constructive cutting as inseparable for a completed effect. The ideal is an alternation according to a previously-elaborated scheme of moving and static shots, the one or other predominating with the trend of mood and intention. In this connexion it is to be noted that the camera should hardly ever cease to move in the middle of a shot. It has the effect of a retardation, a throwing-back of the spectator into his seat: it does what the Russians deplore, reminds us of the camera. The only correct way to bring a camera-movement to an end is to cut the whole shot against a static shot from a different position.
A. Vesselo.
MOSCOW FILM FESTIVAL
Commencing on 20th February there will be held in Moscow a Film Festival at which a series of the most recent Russian sound-films will be exhibited, together with a selected number of European and American productions. Facilities will be offered for a study of the development of the Russian cinema during the past fifteen years, and special travel arrangements have been made by Intourist Ltd., who will grant a reduction of fifty per cent, on their ordinary fares to visitors attending the Festival. There will also be a reduction on the cost of accommodation in Russia.
The Russian films to be exhibited will include The Touth of Maxim (Kostintseff and Trauberg), Peasants (Ermler), Hot Days (Sarchy and Henifer), New Gulliver (Ptushko), The Private Life of Peter Vinogradojf (Macheret), Love and Hate (Gendelstein), Komsomol (Ivens) and several Meshrabpom colour shorts.
BOOKS
MAN OF ARAN. By Pat Mullen. (London: Faber, 8s. 6d.)
" Man of Aran " is an excellent tale and to some extent a good record of film production. Pat Mullen gives Maggie, Mike and King their share of fineness and bravery. Mr. and Mrs. Flaherty are portrayed as grand people, but Pat fails to express Flaherty's importance to this particular film and to films as a whole. To appreciate this importance, the difference between Flaherty and a studio director must be understood. On ninety-five per cent, of the films made in studios the director is not an essential. He is merely a financier's mouthpiece. Flaherty's importance to a production and to the development of films can be judged by the history ofNanook. Flaherty landed twenty years ago in a frozen country. His equipment, compared to modern stuff, was crude. He had a wooden Bell Howell —
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