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THE METHODS OF EXPRESSION OF DRAMATIC CONTENT BY FILM CONSTRUCTION
It is proposed, for the purpose of simplification, to divide the processes by which the dramatic content of the theme of a film is conveyed to an audience into two separate sections. The first will deal with the construction of the silent film by means of visual images on the screen. The second will reason the uses of a combination of sound, dialogue, and visual images on the screen. Although these two processes may be considered as entirely opposite forms of cinema (believing, that is, the dialogue film to be spurious), certain properties are common to each and in places will be found to overlap. For example, although visual images are employed in both cases, basically different ideas lie behind their conception. An intermediary stage has further been added, deliberating on the advantages to be gained from the use of recorded sound (as distinct from the recorded voice) as a resource of filmic exposition.
Although aesthetic principles render the silent film, reasonably reinforced by symbolic sound accompaniment, the only acceptable form of cinema, it is not to be denied that the dialogue film as seen and heard to-day is a low form of cinema, its novelty and freakishness being commercially lucrative to American and British producers, and to those continental firms which take the same outlook. Beyond this, there must be visualised in the near future the stereoscopic and wider screen, the colour film, and the projection of coloured slides or secondary films on to the walls and ceiling of the theatre, all in combination with synchronised dialogue and sound, in an effort to establish what has been called the compound cinema. That these mechanical 'developments' will come into general use there is little doubt, and in all probability they will be supported by a certain section of the community who applaud novelty entertainment. I am equally certain, however, that these new forms will never destroy
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