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93
Filmbiicher fiir alle, edited by Kraszna-Krausz, 3, " Filmentwurf , Filmregie, Filmschnitt " von Alex Strasser Verlag : Wilh. Knapp, Halle (Saale). Price RM 5.30.
This book contains 160 pages, 117 illustrations, and is a manual of film direction for amateurs, containing — as the subtitle tells — laws and examples with regard to the planning, directing and cutting of films. As there are a lot of cheap cinema-cameras available nowadays, which are comparatively easy to handle, the number of amateurs of cinematography has largely increased ; they have learned the technical details, but they usually lack experience as to the artistic aspect and for those who' want to turn more than some odd scenes the present book will give useful instruction. It gives a survey on the different kinds of film (document, play-film, trick-film, etc.), suggestions for various plots, and describes the way from the idea and expose of a film to a useful scenario. There are chapters on cutting and on subtitles. What is most admirable in the book is that — like the others of these series — it does not explain things merely theoreticallv, but illustrates them with many instructive examples.
T. W.
A VIENNESE FILM-BOOK.
Vienna and the film — that is a strange chapter in the history of cinema; a story of platonic love ....
There is, and always has been a film industry in Vienna, but it has never gained influence in the world. Viennese artists have become popular in other countries, have made careers in Berlin or Hollywood, but in the studios of their native city they are not to be found.
The landscape of Vienna, the Viennese humour, which is said to be one of the outstanding features of our national character — these always serve as " staffage " for Viennese films turned by foreign, directors. Viennese music with its Wiener lied and Vienna waltz, assures estimable music. The studios of our city — their number is three or four — are rented by French or German companies, but for years not one really important film has been created to indicate clearlv that Vienna was its birthplace, either in subject, milieu or conception. Nothing to show that it was in its own home in Vienna.
And what is characteristic in the films applies also to some extent to books written about them. The experts of other countries (Eistenstein, Pudovkin, Hans Richter, Guido Bagier) write works of practical instruction, but works which contribute to film theory (Bela Balasz, Fulop-Miller) come from Vienna.
Now a new book is lying before me ; The Film Age (Das Zeitalter des Films) by Dr. Josef Gregor of the Vienna National Library, where he is director of the theatre section, annexed to which are the Archives of