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.
PICTORIAL BEAUTY IN THE PHOTOPLAY 175
were planned or sketched on an old envelope, or the stage floor. In fact, an early designer of my acquaintance used to design his sets on the palm of his hand if nothing else happened to be handy. These early sets merely filled the requirements of entrance and exit; but in some cases they were surprisingly well done. The advent of the open stage did not help matters much, for, though the lighting was controlled by diffusers, or large overhead awnings, which could be rolled back and forth, the lighting throughout the scene would be continually changing with the movement of the sun.
As lighting equipment developed, the glass stage was abolished or darkened in, and all lighting was artificially created. At this time, artists and architects began to take a hand in designing sets. Texture, effect and composition began to be considered, and efforts were made to please the newly awakened taste of the public, which was growing more discriminating, now that the first novelty of the first motion picture had worn off. Gradually through the efforts of illustrators, painters, stage designers, architects, and commercial artists — all of whom had tried their hand at movie design, the set of the present day was evolved.
The set of today is neither a purely architectural nor a purely artistic product. It is an ingenious combination of art, architecture, dramatic knowledge, engineering, and craftsmanship. It combines in just the right proportions theatrical license with the reality of good architectural pattern. Simplicity and restraint are its chief characteristics. Simplicity is absolutely necessary for the audience must be able to grasp the whole scene and its meaning at a glance.
The orientation of exterior sets so as to take best advantage of the changing position of the sun presents many interesting problems. Your geographical location is a large factor in determining how you will lay out your set. You wouldn't do it the same in New York as in Los Angeles. It is usual to lay out a set to the south because back light is much better. Of course if you are going to shoot on the set all day you have to bear in mind the changing positions of the sun in relation to the changing action on the set. The declinations of the sun must be considered. I put up a set for Valentino's picture "The Son of the Sheik" which was supposed to be a desert palace or something of the sort. We didn't shoot the picture until three months later and had forgotten to take the changing declination of the sun into consideration; and the result was that the lighting was terrible — it was a complete back light, whereas we arranged it for a beautiful cross light.
It might be interesting to you to know how pictorial accomplishment has gone from one country to another. The original artistic pictures were mostly French, and for some time French cameramen and art directors were almost alone in the field. Then the Italians did "Quo Vadis" and "Cabiria," which were among the first artistic productions. Mr. Griffith made "Intolerance" and "Broken Blossoms," which for settings and photography created a new era in pictures. With the war America had the field mostly to herself and for several years most of the progress was here. After the war