We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
PHOTOGRAPHER
lar fad. While all serious workers have since made more or less use of the principles of montage many of the practical-minded members of the Hollywood fraternity have always shied away from openly accepting montage as a routine and fundamental phase of production technique. Consequently, io most of Hollywood montage usually means "special effects," regardless of whether the "special effects" are montage or not.
From a practical standpoint, even though the terminology may differ, nearly all experts and pseudo-experts agree that the important phase of montage is its emphasis upon the securing of emotional and dramatic reactions through the particular manner of editing and the particular combination of cuts, close-ups, pan shots, etc. — entirelyindependent of the emotional and dramatic content of the actual scenes shown. Thus, a "Poverty Row" producer, editing his picture to build his horse opera chase scenes to a smashing climax, may be achieving perfect montage without any knowledge that the word exists, just as a natural genius for dramatic literature may instinctively construct skillfully, scenes and dialogue with no conscious knowledge of the rules of the theatre.
The great barrier to an understanding between the commercially-minded bloc and the "cinema art" adherents upon film technique generally, is one of words and phrases, rather than actual difference of honest opinion. Men like Slavko Vorkapich today have reconciled these warring viewpoints chiefly through disregarding them and bv concentrating on the essential values involved. Their ideas on montage and its application to commercially salable films are eminently practical and downto-earth. The need for these ideas and slants is not only practical but today it is pressing. There are two fundamental reasons for this. The first is a matter of technical limitations. The second is a matter of story material limitations.
The first impelling reason for montage in modern productions hangs upon several inescapable laws of, physics, which result in a current standard of 90 feet per minute for the recording and projection of talking pictures. The introduction of sound to motion pictures, brought with it the situation that it is impossible to record sound on film any slower than 90 feet a minute and still adequately record photographically the microscopic waves in the sound track.
Ideal speed for perfect recording and reproduction with the film sound track would be approximately three times that fast, especially for the higher frequencies; but the film cost, danger of film breaking, and the technical problems involved in handling motors and controls
(Process — Cont.)
OCTOBER, 1937—27
Day after day; Year after year;
MITCHELL CAMERAS
maintain their
supremecy
MITCHELL CAMERA
CORPORATION
665 North Robertson Blvd.
West Hollywood, Calif.
Cable Address "Mitcamco" Phone OXford 1051
AGENCIES
Bell & Howell, Ltd , London, England Claud C: Carter, Sydney, Australia D. Nagase & Co., Ltd., Osaka, Japan
Motion Picture Camera Supply Co., New York City
Bombay Radio Co., Ltd., Bombay, India
H. Nassibian, Cairo, Egypt