Cinematographic annual : 1930 (1930)

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.

84 CINEMATOGRAPHIC ANNUAL the ultimate film; the director's mental concept of the whole and its component scenes; and the actors' mental pictures of their portrayals of the characters. Here is where the cinematographer begins to fit into the plan of things. It is his task to make this combined total of mental pictures into an actual, lasting record; to take the combined efforts of all the others who have put their minds and efforts into the pictures, and make a condensed, objective version of their thoughts. This must be accomplished by arranging a series of compositions and then bringing them through a small piece of glass called a lens, onto a lightsensitive film which will preserve them as a lasting, physical record n-r jp Fig. 2 Knowledge— by Henry Goode. Attention is focussed on the face and figure of the sitter. of all this expenditure of thought and money. Unless the cinematographer can make this record a perfect crystallization of all these mental concepts, all that has gone before is wasted. Here is where a 'thorough knowledge of composition proves itself invaluable, for by arranging his subjects, lighting, and color scheme properly according to the laws of composition the cinematographer can, without detraction from the story, give a rendition of half-tones, high-lights, and shadows which will be in keeping with the mental pictures already created, and which will enhance the efforts of those whose ability and mental pictures he is, in the highest sense, trying to compose. Occasionally a cinematographer will be called suddenly onto a picture, and forced to start it knowing little or nothing of the moods and mental impressions he is endeavoring to portray. This system is invariably expensive, and results either in unsatisfactory photography or in added time necessary to secure good photography. Such a condition is distinctly felt by the audience, though not in the same direct way that an unsatisfactory acting performance is. Instead it talks the form of an intangible feeling that something is wrong with the picture. Nowadays, however, this situation rarely occurs with the