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iv FILM TECHNIQUE AND FILM ACTING
were the fundamentals of film art and defined the singular process of expression that distinguished it from all other media. Now film theory and practice could be attacked with greater assurance and efficiency. The film maker now had at his disposal a consolidated and concrete source of information and knowledge that could shorten his own creative development. It is not surprising therefore that these books soon became the "bibles" for film artists.
Film Technique, in particular, had an acute and immediate effect. It came out at a climactic period in film history — just when the American cinema was catching its breath over the exciting innovations and new contributions that had been introduced first by the German film importations, then the French and finally the Russian. The originality of these foreign pictures had stirred up a wealth of film theory and criticism which was valuble and passionate but without a generally accepted reference point. A criteria on which to construct, judge and evaluate a motion picture was sorely needed. Film Technique fulfilled this need and was greeted with hearty applause. Film theory and film making was lifted out of the gossip and "personal opinion" category and into a more conscious and defined art form. The concepts contained in this slim book stimulated and sharpened awareness of what was basic and true to the film medium. All films and writings that followed — whether they agreed with its edicts or not — have had to take cognizance of its principles and contributions. Film makers and critics to the pres