The international photographer (Jan-Dec 1937)

26— OCTOBER, 1937 (Process — Cont.) INTERNATIONAL EVERYTHING PHOTOGRAPHIC FOR PROFESSIONAL AND AMATEUR New and used. Bought, sold, rented and repaired Designers and manufacturers of the H C E. Combination Lens Shade and Filter Holder For any size lens. Send for Bargain Catalogue. HOLLYWOOD CAMERA EXCHANGE 1600 Cahuenga Blvd., Hollywood Telephone: HO-3651 Cable: HOCAMEX DOLLIE! ACCESSORIES mOVIOLRS Sf,TCHELLCflmERflK FEARLESS PR0DUCT5 Motion PicturcCriiicrr Supply, inc 723 SEVENTH AVE. NEW-YORK-CITY BRYANT 9-7754 J. BVROI CONTNER CABIF CINECAMERA FULLY GUARANTEED USED 35 MM. EQUIPMENT Mitchell, Bell & Howell, Akeley, Debrie, Universal, Pathe Cameras. B & H Eyemo and De Vry. Portable Sound Recording Outfits. Holmes Projectors, Sound and Silent. De Vry Suit Case Model Projectors. Bell & Howell 1,000 ft. magazines at S50 each and Bi-pack adapters at $90 each. Stineman Developing Outfits, 16 and 35 mm. We Buy, Sell and Rent Anything Photographic. CAMERA SUPPLY CO. 1515 No. Cahuenga Blvd. Hollywood California Cable Address: CAMERAS In U)prlJ-(/OiJg Us<g 'prs7cdu.c<z, C^ta^nli^br and (\)i^br dferls in Daytime ~F?^ Scenes Dif fusevA Fastis, an J many ?rn<zr *FF«crs With any Camera " In any Climate Geortjo H. ScKeibo ORIGINATOR OF EFFECT FILTERS J927 WEST 78™ ST. LOS ANGELES. CAL rTHE NEW 'GRANT'' ENLARCER ^L and Projector Features FAST • COOL ECONOMICAL ACCURATE SMALL Compact Portable Uses ordinary 50candle-power Automobile Bulb, Builtin Red Light Filter. 3 Condensers 2" /;3.5 Lens Makes 1 x20" I'^fZTATl 3S mm. or one half vest pocket. Ask Your Dealer to Demonstrate See This at Your Dealer ALSO ASK TO SEE THE NEW AUTOMATIC ALL-METAL ENLARCING EASEL Makes any size border quickly, easily, automatically. All-metal construction — durable, .50 LIST practical, economical. 11" x 14" $7 f SUN RAY PHOTO CO., Inc. 138 Centre St. New York Dept. I. P. ously known as "special effects," for Leo's more important epics. Not long after the industry was freed from the initial confining restrictions of the microphone, Vorkapich began advocating montage and sold it so well, that today he enjoys the confidence of the top executives and creators at one of the principal organizations in the industry; and today he and others with a similar bent are gradually establishing for montage a definite bracket in the "Hollywood formulae." For all practical purposes — although even this simple definition undoubtedly will provoke dispute — montage is a particular method of approach to the editing of a motion picture. It is based upon the relationship of frame to shots, shots to sequences, sequences to continuity. Each is considered as sharing an interrelationship; and montage exponents— particularly the Russians — have evolved serious and highly complex theories on the subject. Montage is a French noun deriving from the verb monter — to mount, assemble, put together. In its wider sense it is used I in Europe) to denote editing in general. The Russians, particularly Eisenstein and Pudovkin, use it in a more specific sense. We in Hollywood may call it creative cutting as distinguished from the simple continuity cutting. Montage is a method of expressing moods, meanings and events by a rhythmic arrangement of images with regard to their form, content and movement. According to the given problem these images are rhythmically "mounted"' either one after the other or one on top of the other — or both. Montage is a sort of picture language — filmic ideography. Montage expresses thought and emotion by means of image and motion. Montage first came to Hollywood in its present form when cameramen added "UFA shots" to their jargon during silent days. These generally were lapdissolves of a more or less complicated nature, frequently with superimposed camera effects. Sidney R. Kent's decision that Paramount would distribute "Variety" in this country started a trend that brought from Germany Lubitsch, Dupont. Jannings and many other keenminded workers with radical ideas on film technique. On the heels of the Germans came the artistic successes ofthe Soviets budding film industry. The Russians wore out reels of Griffith's masterpiece? studying his methods, and borrowing also from the Germans, evolved a conscious theory of production technique around the montage idea. Close on the Germans and Russians came the theorists and essayists, just beginning to discover the motion picture as an art form rather than a popu