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production costs. After a few days of work, the scenario editor asks to see the rushes. He knows they must be hopeless and he says so loudly. The story has to be revamped but the extra expense is charged to the production department and not to the scenario department ! The director then turns furiously on his assistant who points to the supervisor who points to the production manager who points to . . . O.B.
For the first time in its history, the city of Baltimore, Md. formally recognized the films as an art by putting on an exhibition in the new 83,000,000 Enoch Pratt Library, owned and operated by the city, of photographs, books and manuscripts arranged and annotated by Herman G. Weinberg. The entire exhibit was from the private collection of Mr. Weinberg and, instead of being relegated to some obscure corner of the library (as was the New York Public Library exhibit of the history of the films), this exhibit covered all the available show cases on the main and second floors.
The exhibit was named after Paul Rotha's book, The Film Till Now, and carried the subcaption : "A Summary and Survey of the Beginnings and Development of the film as an Art Form." The exhibit was divided into the following sections :
I. — S. M. Eisenstein, His Theories and Work. Potemkin, Old and New, Ten Days. etc.
With special reference to Que Viva Mexico ! and the legal battle with Upton Sinclair. II. — Charlie Chaflin, His Theories and Work. His comedies. A Woman of Paris and its influence. Books on Chaplin.
III, — Ernst Lubitsch — His German Period. His Hollywood period.
IV. — Erich von Stroheim — His Theories and Work. Special reference to the case of Greed,
The Merry Widow, Foolish Wives, Wedding March, etc. V. — Fritz Lang — His Theories and Work. Special exhibit on The Nibelungen. Special Reference to M.
VI. — Film Personalities — Directors, scenarists, stars, production stills. Europe and America. VII. — The American Film. VIII. — Dr. Caligari and its influence. IX. — The Film in Medicine (Tisse's Ceasarian film, etc.) X. — The Experimental Film (Ruttman, Fischinger, Eggling, etc.). XL — Three Spectacular Films — The Nibelungen — Secrets of the Orient and The Passion
of Joan of Arc, with discourse on their treatment. XII. — Fiction and Drama as Sources for the Film (Illustrations of noteable books and plays which served as film material — Karamazov , Crime and Punishment , etc.)
XIII. — The Ethnological Film. (Travel, adventure and exploration). With special
emphasis on the Soviet contribution to this type of film.
XIV. — The Russian Film — Dovzhenko. Pudovkin, Eisenstein, Ermler, etc.
XV. — Rene Clair. — Sous le Toils de Paris, Le Million & a Nous la Liberie. Eiffel Tower. XVa. — G. W. Pabst — Pandora, Secrets of a Soul, Westfront, 1918, Kameradschaft. XVI. — F. W. Murnau — The Last Laugh, Faust, Sunrise, 4 Devils, Tabu. XVII. — Emil Jannings as Screen Artist — Jannings in a symposium of his greatest roles since The Loves of Pharoah.
XVIII. — Apotheosis of the Sound Film — 3 great examples — Die Dreigroschenoper — Maedchen
in Uniform — Ecstasy.
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Because our Culture (now in its Indian Summer) is a dynamic one of interplaying forces (as contrasted with the somatic nature of earlier Cultures), it becomes harder and harder not to see film application in each new significant