The theatre of science; a volume of progress and achievement in the motion picture industry (1914)

of Science 233 The "Dramatic Mirror," particularly from the outset of Frederick Shrader's editorial incumbency, became truly representative of motion picture activities and like the "Sunday Telegraph," the gentlemen who have conducted its extensive film departments have become material factors in the studios. There are no better qualified exponents of the technical side of the photoplay than Frank Woods and George Terwilliger, both graduates from the "Mirror's" film departments. At this time "The film man," Robert E. Welsh, is conducting the "Mirror's" widely quoted photoplay section, and in 1914 the editorial staff in this department was materially augmented by William Lord Wright, long contributing to various trade issues and magazines and a recognized authority on all scenario questions. The "New York Clipper," being the oldest theatrical publication, always has included every phase of amusement activities in its pages, hence it was not surprising that the present editor, Albert H. Borie, recognized the need of devoting more space to the camera man than to any single feature of the "show" world. It is rare, indeed, that the "Clipper" has not at least one important essay contributed by motion-picture experts. There is that something about the "Clipper" as far back as I can recall, and to this day, which has endowed its subject matter with individuality. One may note yet the typical policy of its pioneer founder, Frank Queen. Modernism nor commercialism can obliterate this survival of a dignified though unpropitious theatrical era. In 1914, "Variety" and the "New York Star" vastly enlarged their film departments. "The Green Paper," for some reason, was late in the field, yet one glance at a present-day issue as com