The international photographer (Jan-Dec 1935)

Eighteen T h INTERNATIONAL PHOTOGRAPHER January, 1935 DEPARTMENT OF CINEMATOGRAPHY THE UNIVERSITY OF SOUTHERN CALIFORNIA UNIVERSITY COLLEGE Winter Quarter 1935, January 7 to March 23 Night Classes Chairman, Associate Professor, Dr. Boris V. Morkovin. Lecturers: Frank Capra, Earl Theisen, Wm. F. Campbell, Arthur J. Campbell, A.S.C., J. Farrell Macdonald, Hugh B. Gunter. Assistants: Perle Eddy, Frances M. Christeson, Theodore B. Karp. Fundamentals of Motion Picture Production, Cinematography 129 f. Time: Mondays, 7 to 9:20 P. M. Place: 214 Bridge Hall, S. C. campus. Audience psychology. Stage and screen technique. Story and continuity. Acting. Camera and Light. Art. Sounds and music. How to direct. Animated cartoon. Motion picture phraseology and studio routine. History of American and European cinema. Lectures. Films. Experimental work in Cinema Workshop. Selective: 1. cinema story clinic, 2. acting and directing in Cinema Workshop Theatre, 3. work in technical group, production of small pictures. Instructor: Boris V. Morkovin. An experimental sound picture, "LUCKY STRIKE" will be made by students. Names of all participants will be used in the cast. Dramatic and Cinematographic Acting and Expression, Cinematography 150. Time: Wednesdays, 7 to 9:20 P.M. Place: 209 Bridge Hall, S. C. campus. Stage and screen presence, voice, diction, make-up, costuming. Pan tomime, gesticulation, spacing, business. Studio routine of actors. Experimental work in Cinema Workshop Theatre. Instructor: J. Farrell Macdonald. Motion Picture Camera, Cinematography 180. Time: Thursdays, 7 to 9:20 P. M. Place: 209 Bridge Hall, S. C. campus. Optical principles. Camera development, construction and operation. Laboratory experimental work in making small pictures. Sensitometry. Process and illusionary photography. Studio and exterior lighting. Composition. Make-up. Relation of sound to camera. Studio routine. Instructor: Arthur J. Campbell, A.S.C. Methods of Teaching Motion Picture Appreciation, Education 175-C. Time: Mondays, 7 to 9:20 P. M. Place: Transportation Building. Materials and methods of motion picture history and appreciation work in the upper grades and high school. Practice lesson planning, and construction for course of study. Standards and criteria of appreciation from the point of view of dramatic and cinematographic excellence. Social and educational values of motion pictures. Instructor: William G. Campbell. Successful students may receive a special statement of work in the Department of Cinematography. Special courses may be arranged for groups organized within each studio. Inquiries regarding courses may be addressed to University College office, 1300 Transportation Building, Los Angeles. TRinityl701. APPRECIATION I. A. T. S. E., Local 659, wishes to express appreciation to Brother Greenwald, cf Los Angeles, and Brother McHenry, of the Golden Gate Wing, for their fine spirit of co-operation. This same appreciation is extended to all other newsreelers on the Pacific Coast. Local 659 has a hundred percent of newsreel men West of the Rocky Mountains. John McHenry was recently re-elected steward ; Geo. Lyng, elected assistant steward ; Lloyd Combs, secretary. THE HORSE IN MOTION (Continued from Page 15) a large, handsome quarto, containing over one hundred full-page illustrations, some of the pages containing many separate figures showing the position of the limbs and the general action of the horse (and some other quadrupeds) in running, trotting, leaping, walking, etc. These are a most curious study and fully confirm Mr. Stanford's theory, that, both in running and trotting, the horse is occasionally entirely free of the ground, a fact never before demonstrated, though sometimes discussed by turfmen and others. There is also a series of twelve colored plates showing the osseous and muscular development of the horses. These pictures were executed by a process known as photo-engraving. Several classes of persons will find much matter for thought in this volume, but to none has the revelations of the camera been so much of a surprise as to the artist world. One famous painter, looking critically at this collection of horses in motion, with an accent of deepest chagrin, exclaimed: "Why, there never has been a horse painted correctly since the world began." And, in fact, he was nearlyright. The conventional horse of the painter bears no resemblance, in the action of its limbs, to the realistic horse of the camera. The experiments were mostly made in 1878, on Mr. Stanford's private track at his country residence, Palo Alto, in California. The electric current was applied to open and close the shutters before the cameras, no other made being found quick enough. The cameras were placed at the distance of twelve inches apart. ROLLEIFLEX Regarded by Mr. Herbert C. McKay, F.R. P.S., and Dean of the N. Y. Institute of Photography as a camera which amateurs "never have to discard — for one more in keeping with their advancement," the Rolleiflex daily receives fresh laurels in such widely divergent fields as press photography and commercial work. A commercial photographer writes that "there is nothing to equal it for outdoor groups, especially weddings." In press photography, i t s instantaneous ease of operation, its rapidity, its extreme depth of focus and its needlesharp, automatically obtained fo;us render it the ideal camera in lieu of the bulkier camera formerly in vogue. ;le brooks 127 West 42nd Street New York ROLLEICORD Please mention The International Photographer when corresponding with advertisers.