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If the talking film succeeds in being the integration and perfect artistic complement of cinematography, it will confirm the latter as an art. On the contrary if it is limited to a mere substitution without that interest which can be aroused by the material existence of an orchestra in a projection theatre, either sounds or words would diminish the artistic power of the cinematograph.
If the success of the talking film in the theatrical filmistic production could be doubted, we believe that no doubt can possibly exist of the exceptional importance that sounds and words might have in educational, scientific, ethical, folklore and documentary visions, where the scarce interest could be quickened by sounds or words and where the lessons and comments of illustrious masters could, in every part of the world even in the smallest centres, illustrate cultural and didactic films. Besides the very vast application of the talking film which is being adapted to the small scholastic apparatuses and especially to those of small size films, shows what new paths and possibilities are opening for the educational film.
Serious problems of a social and legal nature have arisen in connection with the talking film, and the International Review of Educational Cinematography cannot but be interested, and it proposes to handle them with the full collaboration of International Institutes devoted to the study and solution of such problems. The Review and the Institutes could supply said organisations with a valuable amount of news, information and elements which are really part of our programme and which we can easily collect.
There are social problems connected with the substitution, unfortunately unavoidable in the small centres, of the orchestra with the talking film. In the great cities we believe that the orchestra, even where it has already been suppressed, must return, as we have seen in the enormous halls of New York, where side by side with the talking film, are orchestras of nearly ioo players, whose performance is to be regarded as an important function in the musical education of the people. But in the small centres the substitution will be fatal ! Many musicians will lose their employment ; small companies of clowns and music hall artists will be replaced by the sound pictures where many attractive numbers are being spoken and sung. The International Labour Office with its well-known competence and good-will is taking an active interest in the solution of this problem.
There is also, in addition, the legal aspect of the question especially with regard to the new valuation of author's rights. Quite opposite conceptions could be reached by considering the possessor the author or by considering the author the actor ! But, today, confronted by a composite performance how is it possible to determine the author's rights ? And in the same talking film would it not be possible to find differences according to whether the disc system and a photographic system of words and music
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