Film Spectator (1927-1928)

June 25, 1927 Page Nineteen and his skill; but is it right for him to avail himself so of the advantages } of. his art, without considering that his co-workers are limited in the possibilities at their disposal? * * * In the cinema one should distinguish two groups of scenery: <a) Historical sceneries, that is to say, such as represent a definite epoch, the style of which should be clearly expressed; and (b)' Sceneries representing to-day. When arranging settings of the first group one may sometimes tolerate an excessive richness and distinctiveness in the dimensions and form of the style, with a cultural-historic aim, as it is useful and interesting for present-day spectators to see incarnated in life that of which they have only read and heard. But, all the same, a sense of proportion should indicate to the director and to the artist the limits to which the actor, as the chief scenic material of the film, may be subordinated by sacrificing him to another scenic material — to the architect, the painter and the sculptor. In present-day plays the actor should absolutely dominate. Here the architect’s art should be in reverse proportion to the actor’s art. In as far as a fine and vivid presentation of the corners of the life presented is required by the actor, to that degree should the architect surround him with plain, simple, and life-like settings. Here definitely the settings should be outlined only as a background for the actor, no more, and as far as possible they should consist of the simplest architectural angles and lines. To become a worthy co-operator in the entirety of the cinematographic art, the artist-architect must accomplish feats of self-denial by setting a voluntary limit to the possibilities open to him. The principle of this I self-denial is dual; first an accord1 ance with the possibilities of the other elements that come into the ! production, and second with the most I essential element in the cinema — the ] man. * * * Concluding this survey of the fundaniental bases of the joint art of the cinema, I can not omit to mention the fact that often all the efforts and achievements of the director, the actors, and the architects in any picI ture, are destroyed by a colleague of I theirs who stands on a somewhat different plane of creation. Flowers for the June Bride Flowers for Graduation Edith M. Roberts’ ROSE SHOP 6432 Hollywood Blvd. We Deliver HE. 0966 I refer to the camera-man and his art. The ruling principle of the photographer, that a man and illumination are conceivable without scenery but that man and scenery are unimaginable without light, has proved insufficient. We know that light is essential, but what light? I think not only a light necessary for the exposure of a film, but a light which is directed, and brings out one object to greater advantage than the other objects of the given scene; a light illuminating, in the sense that it discriminates. The photographic art, like every other art, never demands light alone — it always demands light and shade. Light and shade. They are the physics of life, the psychology of life, and the esthetics of life. Can the cinemaart, as an expression of life, get on without light and shade, or be content with light alone ? Any camera-man who will consider this even a little, will understand of what achievements he deprives the present-day cinematograph. That the actor and architect should not complain that the camera-man has ruined their creation by unskillfully lighting up one or other plane of it. lighting up one or other scene of it. It is necessary that the artist-cameraman should labor at his art equally with the director and the architect, endeavoring not to lag a step behind them; for it is a mistake to think that the business of lighting up the actor and the settings is an affair of artistic arbitrariness or of momentary inspiration. No; in all the arts laws operate as they do in nature, and as shade is the very basis of every art (for without shade what art is there?) it is comprehensible that a knowledge of these laws is important for every artist. Only in this way, by way of the united work of all its co-operators, will the cinema be able to overcome its enemies and detractors and triumphantly assume the high, cultural, artistic educator which its nature has decreed for it. H. TIPTON STECK WRITER Now Preparing My Third Dallas FitzGerald Special “WILFUL YOUTH” TITLED “BARBED WIRE” Famous Players-Lasky Address: AMBASSADOR HOTEL EST. 1922 INTERNATIONAL KINEMA RESEARCH L. A. HOWLAND RESEARCH PHOTOGRAPHS FOREIGN TECHNICIANS INSERT MATERIAL TRANSLATIONS HE-8761 HOLLYWOOD SECURITY BLDG. §>]iiiiiiiiuiiailiiiiiimi[jiiuiiiiiiioiiiiiiiiiiiaiiiiiiiiiiiitiiiiiiiiiiiiiiiiiiiiiiiiiiiciiimiiiiiiitiiiiiiiimiiniiiiiiiiiiiiniiiiiiiiiiiiE]iiiiiiiiiiiit:iiiiiiu> I THE FILM SPECTATOR, | g 7213 Sunset Boulevard § I Hollywood, California. | I Please enter my subscription for one year (or 26 issues) to The i i Film Spectator, and herewith find my check for |3.50 in payment. | i Name S Address. City »:«iiiiuiE]iiiiiiiiiiiiuiiiiiHniDnntiniiiiiiaiiiiuuiiiiaiuiiiiiiiiiamiimiiHniiiiimiiiiDiiniiiuiHDiiiiiiiiiinDtmiiiiiiiit]uiiiimiiiDtiuiiiiiuic>>