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arches of the cathedral stand immovable and — seen in different lighting and from different angles — they reveal to the observer such dramatic motion as otherwise is revealed only to the learned and very attentive observer.
Apropos architecture : Two Germans who work on films have announced that they want to transpose phoneticallv with the photo cell the light reactions of plastics, and to compose them with their parallel visual impressions to> obtain sound film accords.
This extremity must have been suggested by the experiments of Oscar Fischinger whose compositions of dancing lines are the onlv kind of abstract film which can be found in the regular programme of the German cinemas, and which are well received by the public. Fischinger, who originally bv synchronisation of his studies made real record pieces, has been trying recently — in order to obtain a more complete unity of picture and sound — to record decorative music in the Lichtongerat (light-sound) apparatus.
Simpler, more thorough and practical seem to be the similar endeavours of Rudolf Pfenniger, who after a long and difficult analysis, was successful in the calculation of sound writings, and also in drawing them with the hand. His " Sounds from Nowhere " sound rather strange and hollow for the present, like stopped up wooden instruments, but were composed for several voices, and seem to be quite a suitable acoustical background for marionette and trick films.
Thinking of these somewhat impetuous experiments, and that these last months have confirmed the talent of two or three very young directors — finally, that the German musical film comedy has become more ingenious, even genuine and really amusing — then one would be almost inclined to forget that one German film company after the other is breaking down, and that the total sum of passive debts for the last years seems to be more than 20,000,000 Rm. One would be almost inclined to forget that the position of Ufa within the range of German film work means an incontestable, financial, organic, technical, artistic and philosophic monopolisation of the German film. And to-day this danger is greater and more urgent than ever. One neglects it because of the promising experiments of outsiders— exactly as one slights the darkness of the situation in Europe, as soon as somewhere a light — no matter how faint — happens to penetrate the darkness, and an optimist seeing it thinks: Day-break!
A. Kraszxa-Krausz.