Cinema Quarterly (1934 - 1935)

Record Details:

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.

covered — has been thrown overboard. Amateurs with enthusiasm must fish it out again and explore its further possibilities. Movement dominates people's lives. The panorama outside a railway carriage, however depressing, has most of the people in the train looking at it. The sea with its constant movement claims its millions. The moving figure or living person in the shop window always has a crowd. When lying in bed, the fly gets more attention than the Rembrandt on the wall. A quickly changing face showing all its emotions is generally loved more than a poker face that moves but little. Movement is in everything, and only the film has the power of showing it pictorially, and perhaps the silent film has the power of showing it most successfully. The amateur need not bewail the fact that he does not have sound at his disposal; in the silent film he still has a vast field in which to develop his technique and explore the possibilities of a medium still far from extinction. Leslie Beisiegel. AMATEUR FILMS GRETCHEN HAT AUSGANG {Ellen Rosenberg, i6mm.). This little film with a simple theme has been excellently treated. A lonely servant girl on her afternoon out nearly has an affair with a nice young man, but the budding romance never happens because the poor girl suddenly discovers that it is time for her to return to her duties. Ellen Rosenberg has made this awkward girl, who gazes stupidly at statues of Cupid and hopelessly plucks the petals of flowers one by one, something wistful and even slightly tragic. Delicate touches have given the right emphasis to the theme and a completeness of atmosphere that is seldom seen in an amateur film. Many lessons can be taken from this film; briefly, that it is not necessary to have studios, that the best themes are the simple ones, the best actors are those who don't act but behave naturally, and lastly that one frame of sincerity is worth a reel of sophistication. The camera angles are good and the cutting is good inasmuch that one does not notice it. HEITERER TAG AUS RUGEX (Ellen Rosenberg, 16mm.). This symphonic film of a pleasant sojourn on the Isle of Riigen has perhaps the most beautiful photography that I have seen on 16mm. There are three main motifs, a mechanical swing, a group of horses and the sea on the sand. It is through movement that Ellen Rosenberg gets her effects — movement of material and rhythm in her cutting. Though the camera angles are well chosen the cutting is not so good. Quicker cutting could have been used at the climax of the film,, coming as a natural development of the mood of growing hilarity. 187