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INTRODUCTION 17
of black and white images speaking lines and singing songs like living beings created a demand for a greater illusion of reality. This color photography helps to supply.
Public demand is not expressed audibly. The producer must guess at what the public wants and endeavor to supply it. If the public reacts favorably he has guessed correctly. Those who study the motion picture felt that the introduction of sound made color a necessity. That the public feels this also is evidenced by the fact that color is a real box office attraction.
Color cinematography at present leaves much to be desired, but progress is being made steadily, especially in the scientific branch of the work. I hope that the artists, those whose task it is to use these ingenious processes to advantage, will not remain too far behind.
The study of color is a most difficult one. Its complexities are best appreciated by those who have really studied and endeavored to master it.
Three-color cinematography (the ideal of all inventors of these processes) suitable for projection in large theatres, has so far not been achieved. Just how long it will take to realize this hope and make it a practical reality is difficult to forecast. The present twocolor processes, deficient as they are in rendering the full color range of the spectrum, afford great opportunities to those capable of understanding them. As to what heights of beauty and delight color cinematography can rise, I will quote a passage from that great French art critic, Elie Faure: "Who can foresee the destiny of an instrument like the cinematograph. Can one imagine the power of lyric exaltation which might be given to the mind by a succession of colored images painted by a Michelangelo or a Tintoretto, a Rubens, a Rembrandt, a Goya or a Delacroix and precipitated into the drama of movement and of time by a registering apparatus."
Color cinematography will play a great role in the future, in influencing public taste in the choice of dress, household furnishings, wall and floor coverings; will make the public color conscious, teach them something of color harmony, of the effect of complementaries, altogether have an influence which we who are too close to our subject generally overlook.
The enlarged screen is another development growing out of the sound impetus. Two years ago it would have been virtually impossible to have made any progress with an idea such as this, even if a perfect illusion of depth were obtained. Today everyone in the motion picture industry is highly interested in its development and the public reaction to it. The problem confronting the industry at present is what proportions will be the most effective, pleasing and practical?
The reasons for the large screen are so many and so involved that it would be impossible to even sketch a brief outline that would properly fit into an article of this kind. Some attention could be given profitably to the proportions advanced by Jay Hambridge in