International Review of Educational Cinematography (Jul-Dec 1929)

Page scan 00064 from International Review of Educational Cinematography

Record Details:

Title:
International Review of Educational Cinematography
Date:
Jul-Dec 1929
Publisher:
International Educational Cinematographic Institute
Volume:
International Review of Educational Cinematography (Jul-Dec 1929)
Leaf #:
00064
Language:
English
Collection:
Non-Theatrical Film
Format:
Periodicals
Contributor:
Library of Congress, MBRS, Moving Image Section
Sponsor:
Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division
Coordinator:
Media History Digital Library
Description:
Date Added:
September 12, 2024
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




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.

a far-sighted artist the cinema becomes, the pallet of a creative and superlatively romantic painter. In its present conditions the cinema is already an adult art; it is technically perfect and needs no superfetations to be more convincing. Just as no one feels the absence of colour in the engravings of Rembrandt and Piranesi, which are in themselves so rich in colour; just as no barbarian would dare to paint the sketches of « Christ and the poor » or the « Basilica of Maxentius », it is useless to insist on colour or stereoscopic relief in the representations of objects and men in motion. The art of the story-telling cinema is, in its present stage, perfect, as I have already said. If the talking-film restores to the stage all that the screen has taken from it, its power of expression as a whole will stand to gain. When the cinema will have restored to the stage what belongs to the stage, it will start its definite and, for this very reason, essential progress, ready to face criticism worthy of its aesthetic standard. Giulio Aristide Sartorio Member of the Italian Academv. 5 +