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METHODS OF EXPRESSION OF DRAMATIC CONTENT
is a sharp anti-climax, requiring several minutes for the eyes to become accustomed to the different scale. From this it will be seen that the device becomes permissible only before an interval, or immediately before the ending of a film, in order to avoid the change. Another demerit of the magnascope is that it causes the frame of the screen to become noticeable, which is undesirable, for it is the opening and closing movements of the screen margins which make the device possible. The fact of the screen altering its size during the progress of a film not only interrupts the concentration of the audience, but makes them conscious of the screen itself, instead of the visual images upon it. The probable outcome of the magnascope will be the general adoption of larger screens in the majority of cinemas, for a larger screen area than that at present in use will undoubtedly give an enhanced stereoscopic effect.
The triptych screen which has been seen only at the London Tivoli for the presentation of Abel Gance's Napoleon, was not on that occasion particularly successful. The effect was too overwhelming for the receptive power of the audience and tended to confuse rather than to impress the mind. For this device, the film is projected in the normal way on to a central screen. When a highspot is reached, two side screens flanking the centre one are brought into play, and two other films are projected in synchronisation with the main film. For example, one instance depicted Napoleon reviewing his armies. On the centre screen appeared a stream of soldiers on a large scale, whilst on the side screens were two further processions, the scene on the left being the same as that on the right, but reversed. The troops at first formed three separate scenes, but later they mingled, forming one great river of the Grande Armee. The effect was dramatic but confusing.
I understand that this multiple screen theory is being developed in New York, but I suggest that this 'progress of the cinema' is far from achieving the unity of purpose demanded by a film. For normal intents and purposes, the simple flat screen of customary proportions is all that is necessary. It would be more satisfactory if these enthusiasts spent their leisure in improving their knowledge of the film itself rather than in evolving complicated methods of presentation. Mr. Harry Potamkin writes of a compound cinema, in which the rational centre screen is used for the projection of the main film, whilst slides or minor films are projected on to the walls and ceiling t 289